Kremathorium (Panama) Skinflint (Botswana)

Ahnengrab (Germany)

REVIEWS: Absence of Light (Kenya), Alexander Paul Blake (Germany), Avenger (Czech Republic), Desultor (Sweden), Fester (Norway), Eye of Solitude (U.K.), Power Theory (U.S.) PLUS: “Brutalisickness Aaargh Woof Woof Barrage Attack Attack Assaults!!!”: Anhedonist (U.S.), Antropofagus (Italy), Brutally Deceased (Czech Republic), Cardiac Arrest (U.S.), Deadborn (Germany), Deadly Remains (U.S.), Fisthammer (U.S.), Hypnos (Czech Republic), Kraanium (Norway), Sexcrement (U.S.)

Metal Bulletin zine#31 www.fuglymaniacs.comcontact: theoutcastzine@juno.com also: www.metalbulletin.blogspot.com

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#31

Everett, WA

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www.myspace.com/themetalbulletin history of Metal Bulletin zine Issue 1 to 20: (2006-2009): Wisconsin Issue 21 to 26: (2009-2010): Texas Issue 27 (2010) - present; Washington State -- metal on the radio/internet (Pacific Time) Metal Shop (Seattle, WA): Saturday 11pm-3am KISW 99.9fm www.kisw.com

FOUR ridiculous hours of the heavy stuff! Sweet Nightmares (Houston, TX): Thursday night 9pm-midnight KPFT 90.1 fm www.kpft.org

Bill The Master and his pirates take over Texas! ****

Kremathorium (Panama) “New Wave of Latinamerican Metal” is the band’s debut and it brings intensity and heaviness together for a style that appeals to the death and thrash metal taste for high energy. It might sound like death metal at first, but soon you’ll notice that there is some subtle variety, although maybe you won’t notice because of the overall heaviness. For example, the bass guitar is very, very audible and that gives the sound a fullness not frequently heard death and thrash metal. It’s about the metal energy that sounds perfect for the stage, although if you start moshing around your computer, Kremathorium won’t stop you, either. At the bottom of the interview you will find the band’s website and from there you can go listen to the music yourself. Their album is a strong beginning for what hopefully will be a long run!!

The vocalist Ezekiel answered the questions here. -- Your album “New Wave of Latinamerican Metal” has come out this year. What’s been happening with your band in Panama? Right, we’ve just released it. Looks like it’s been well received by locals and hopefully we’ll be playing some gigs in a couple months. The band formed in 2010 but it was on a hiatus for almost a year. We didn’t call it quits, only that it wasn’t the right time to go out and spread the disease hahahahaha.   Have you had opportunities to play in other Central American countries? Not yet, but we’re positive we’ll be able to contact some promoters for one, two or more gigs out of Panama. Some of the band members have made good friends in Costa Rica, but I’m not sure if we’d have any fans there.   Can you tell us about the four members of the band? Caos (drums): an intense dude! PARCEROOOO! Manitou (bass): Death metal lover Hoptan (guitars) known for his love of extreme sports, cars and superbikes

Ezekiel (vocals): I currently write the lyrics. Musically, our intention is that we all put some ideas and work them out until we feel satisfied about the final product. For this first record, most of the riffing is mine, but as long as we come up with new material the rest of the guys will get more involved. As you may have noticed, our music ranges from death metal to thrash, groove and some industrial if you’d like to call it that way. We’re open to trying with other styles, though. [Don’t let “industrial” scare you away, Kremathorium is definitely for death and thrash fans.--editor]   “Commercial Empire of Religion” and “Fairy Tales of the Apocalypse” show your interest in social commentary. What do you see in Panama and the world? It’s all we are dealing with, my friend! You can see it everywhere; in newspapers, TV and this entire social media thing. Violence, Lies, Death, Hypocrisy, Disease, Selfishness it’s everywhere! It’s not a local thing. Maybe it gets worst at “third world” countries where for poor people or even mid-class individuals SURVIVAL is the rule of thumb. We “try”(hehehe) not to blame or to point out at someone with our lyrics. We just try to portray our own view and interpretation of things that are probably part of the so-called downward spiral to our demise as society. So far, you mostly have lyrics about religion, correct? But do you have an interest in economics, history and politics, too? Do you think that the history or politics of Panama certainly have many topics for lyrics for Kremathorium? Let’s say this album was way too critical about Religion since the lyrical content was conceived at some point where I was getting sick of people taking advantage of other’s ignorance and weaknesses, seeing how many idiots would rather go to a church instead of helping others and wondering why’d someone still believes in a second, third or whatever coming. I did personally have had issues as many others, but at least I’ve been able to identify when someone just wants to get dough from my pockets, for example. I hate that! Don’t you think that hits our economics in some sort of way? Hahahaha. We’re sure there’re plenty of other topics (besides religion) to be covered on future releases. Word! Panama has repeatedly been a victim of U.S. government/corporations direct and indirect intervention in Panama. Invasions and occupations are just one aspect of a much broader range of illegal, unethical and murderous actions. How do you personally view these things? Do you view the capitalist government in Panama as collaborators of U.S. imperialism? Being a Panamanian, I can say the US invasion implied some sort of unnecessary force. Too many civilians dead when it was just one person to be caught. It was a fucking excuse to test on new technologies at that time. Historically, the US has only been interested in their own benefit. That’s clear to everyone. I guess it’s the north for every nation to be on top in order to secure “progress” and wealth. Man, all Latin-American countries in some sort of way will always (hopefully, not always) be collaborators of US imperialism. It’s like in class; you try to socialize with the more knowledgeable kids to secure nice grades. Kind of cruel, but it’s as it is. I do personally think we should be thinking of socializing with another “kid”. They won’t be eternally almighty. You’ll see what will happen when Chávez finally dies. (I’m not a prophet ok hahaha).  

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By the way, can you please tell us what other Panamanian bands have published demos or albums recently? There has been a boom in terms of local releases and that’s good for sure. We would like to mention the releases from Sargon, Antagonized, Equinoxio and Cabeza de Martillo. Basically, I consider these as the benchmarks from recent years. Now, bands like Sehlah, Noctrifer, Death Incarnated, Empire of Gore and others are soon to release their material or have released it recently just as Morttus did few months ago. Actually, Manitou is the only one active in another metal band. He’s in the ranks of Sehlah, a local Death metal combo. They’re releasing their IGNORING THE CULT EP soon on Kremathorium records.   What else to know about Kremathorium? Sure, just a few words: BE YOUR FUCKING SELF. We want to thank you for this interview. Keep on doing such a great job letting others know more about the underground. Support? As long as you spread the word you’ll be supporting us big time. Stand strong! Now, if you reading this and after listening the tunes feel the band deserves some help, we’re open to receive your collaboration either by purchasing our stuff or booking some gigs. We’d love to play anywhere out of Panama and get to know more free-thinking people. You can contact us here: Kremathorium@hotmail.com and listen the tunes at: www.reverbnation.com/kremathorium Remember, SILENCE SUCKS! THE END. --

Skinflint (Botswana) The listener can hear the bass guitar lines and what is going with the bass throughout the song; you can hear the different riffs and rhythms of the guitar, so that you can follow the guitar sound in one song and trace the paths it follows; the drums sound like a real human being rocking out. Skinflint highlights traditional, heavy metal, mid-tempo melodies, like they are found on classic heavy metal in which rocking guitars work with melodic parts. Indeed, it is not a coincidence that their album “ILKWA” has a distinct flavor of classic heavy metal in the guitar/melodic and bass guitar lines. The vocals for Skinflint are not high heavy metal vocals, but they are not growling, either. One way to describe it, would be heavy metal grit. The vocals sound raspy or street, not smooth. Finally, it’s difficult to compare Skinflint to anything happening in metal currently because the musical values are anti-trend by a band that has found its way and knows what it wants. Check out Skinflint, but expect something different, heavy metal in a more traditional way, something with a more honest sound. www.myspace.com/skinflint123 www.skinflint.ironwarlock.com skinflint@ironwarlock.com @SkinflintBand (twitter) -- Hello, I have been listening to your album “IKLWA” and your EP “Gauna.” How have metal listeners reacted in Botswana and southern Africa in general? Metal fans in Botswana appreciate what we are trying to do, and the feedback has been mostly positive from listeners in Botswana. However, since the release of IKLWA, we have

been getting more response from abroad then we get from Southern Africa and Botswana. Your city of residence is Gaborone. What can you tell us about Skinflint rocking in the city of Gaborone? Playing gigs in Gaborone, is always trial and error. No matter how popular your band is, sometimes the shows go terrible. This is mainly attributed to the complete lack of Rock/Metal venues and promoters in the country. It is very challenging to set up shows here, as there is no support from the community and media! It seems that in the recent period, maybe in the last 10 years, metal in Botswana has been gaining popularity and more bands are forming and recording the music and people around the world are taking notice. Can you tell us a bit about this? You have five releases?! Rock/Metal music has been around in Africa since the 80s, but the media never covered this and therefore most people never knew about the scene. But luckily for the internet, we now have the opportunity to expose our music to people from abroad who never thought we existed. This is why, the scene is getting recognition in the last 10 years or so!

There has been some confusion on our releases, as our first two release were never official. They were promo demos compiled together to try get gigs in Southern Africa. Our official releases are: Massive Destruction, IKLWA (International Debut) and Gauna EP. We were fortunate to be part of Metal Records, who helped us record all three releases. How long have all of three of you known each other? Kebonye (Bass) and Mothusi (Drums) went to school together in Palapye, and have known each other since childhood, while Giuseppe (Guitar/Vocals) came from Lobatse, the South of Botswana and met with them in 2007 at a Rock gig in Lobatse. During the guitar solos in a song like “The Fallen” from the album “Iklwa” it sounds like there is not a second guitar playing. Is this true? So, in concert, your band can definitely sound like this? When we record, we want the sound to be raw and live in your face. We do not use any samples, pro tools, or studio tricks. IKLWA and GAUNA are as close as possible to the original source sound, so that it gives the listener a feeling of being in the studio with us. Natural and honest, with straight forward traditional recording, like the 70s. By the way, who narrates the “Intro” in the EP “Gauna”? Do you study African history to write lyrics for your songs? The lyrics are written by Giuseppe, and he takes a great interest in Ancestral beliefs, Tribal Warfare and Botswana Folklore. Of course, some of the events of IKLWA are real historic events, but Gauna on the other hand is more Ancestral. As Gauna is believed to be the ruler of the spirits of the dead to the bushmen of Southern Africa. Do you play shows together with other bands from Botswana like Wrust and Crackdust? What are other metal bands from Botswana that you like?

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We have shared the stage with Wrust and Crackdust on many occasions, as well as other local groups. We like Remuda, Dust N Fire, Disciplinary, Simple Sex, Stane, Vitrified and more. The cover of ILKWA displays a warrior with his shield and lance in battle. This painting is the work of Alessandra Sbrana. Does Alessandra have many paintings? She also painted the cover of Gauna. Does she paint for other bands? Alessandra has many paintings, mostly African Mythology and Fantasy. The IKLWA painting was her first painting she did for a band, and she has been doing other bands since then. She just recently finished doing artwork for a Metal band from Uganda called "Vale of Ammonition". What do you want to say the readers of the zine?! Skinflint is currently at work on a new studio album. We will record the album in August-September and hope to have it released this year. The album will further expand on African Ancestral beliefs, as well as follow up the events of IKLWA. After the album, we hope to tour abroad!

We would also like to take this opportunity to thank the readers for supporting Metal, and all the fans out there who give us the strength to continue playing the music we love. Thanx for the questions! THE END. --

Ahnengrab (Germany) In the language of Fuglymaniacs: Ahnengrab’s album “Omen” album is very good. Way better than just “good” and I would give it a rating of 8.5 or 9.

It is a very well balanced combination of music. First of all, Ahnengrab is for those that are very picky and discerning about what they like; and those that want epic metal, but memorable songs, too.

Yes, this is a mixture of black, folk, and sure, some prog, maybe some heavy metal, too. Categories are stupid. The sound quality is good, so no worries there.

But most of all, give it a little time for your mind to grasp what the band is actually doing. This music is not a hamburger to be consumed in 2 minutes. Give it a real chance, and Ahnengrab will be a pleasing experience. www.ahnengrab.de www.myspace.com/211125219

All questions answered by Christoph L. and Christoph H. (Quritte) -- “Omen” came out in 2012, some four years after your first album, “Ahnengrab” in 2008. How long did it take “Omen” to record from start to finish? Your music is not exactly “simple” and it sounds like it would take a long time to record a great album like “Omen.” Quritte: Hi there! Thanks for the compliments. Regarding your question: The album has become pretty complex indeed. There are several reasons which contributed to this. First of all, the enhancement in terms of instrumental influences has played a big role. Furthermore, the song structures as well as the sophisticated technical realisation were of great importance in matters of time.

All the production took place on the weekends, since everybody was busy working or studying throughout the weeks. Summing all this up in a nutshell it took a long time of

about two or three months, but the actual recording was done within only ten or twelve days. Is there a general concept that album is about, from your perspective? What is the story behind “Omen”? Who is responsible for the concept and lyrics, is it Christoph Fenris? Christoph L.: There is no ONE concept, but some kind of golden thread that runs through the whole album, from the first to the last song. It all starts with the search for the past, with the processing of sadness and loss. Songs like "Feuer I", "Feuer II" as well as "Stein" deal with standing upright and facing everything that is to come, be it positive or negative. The song "Omen" represents the perception of distinctive signs of the end (i.e. of a culture or society) and emphasises the need for not giving up even though the end might be in sight. All summed up, the album deals with the unstoppable downfall and decline as well as the emotions and feelings involved. The lyrics and concepts were all created by our vocalist Christoph L. (Fenris), but all the band are contributing to the overall work. About your song “Die Das Licht Nie Sehen Werden”. What is the light that you refer to? And who is “they” in this context? Christoph L.: The song has to do with those, who live their lives following stupid rules and moralic values indoctrinated by society. Those, who think their acting right without thinking about their own ways and beliefs. Those, who are writing failures off as destiny and therefore invariable. The light stands for everyone's individual and personal aims and objectives. Aims everybody should determine for themselves. Aims no one but yourself can define. No one but yourself should define. A song like “Wind” is actually easy to remember and melodic, even though it is fast. I don’t see why many people would not like it. You have to get more people to hear it. Quritte: Well, there are some radio stations playing our songs. Mainly, Tetzel (vocalist of "Asenblut") is broadcasting Ahnengrab's music on his show on Metalonly.de. But all in all there aren't that many stations playing Ahnengrab, unfortunately. But we hope this is going to change as soon as possible. Are there special effects on the vocals on the song “Omen”? How many voices/vocalists are there on the song? Quritte: The respective whispered parts as well as some particular vocal parts were duplicated or recorded a couple of times and overlayed later on. Even though they vary in volume all the tracks and parts were sung by Christoph L. And the outro. Does anyone in the band play classical instruments? Is a wonderful outro, actually. Quritte: As far as I am concerned no member of the band is capable of playing a real classical instrument. Nevertheless, all the parts played by classical instruments were written by Quritte, Tibor C. and Benedikt K. (a friend of the band). The outro was recorded with members of the Brandenburg state orchestra playing the compositions. We are very proud of having realised this since it is something really precious. The classical instruments develop an own, distinct spirit a computer would never be able to create.

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What division of labor is there between your guitarists Christoph H. and Tibor C.? Christoph L.: It is complicated to generalize this issue. Basically, Quritte is the one having the ideas. The rest of the band is to develop the ideas, creating a complex, whole composition. Are Johannes (bass) and Tom (drums) present when you write songs? Are they presented with the full song? Christoph L.: We try to work our way through the songs as a band, a unit. Unfortunately, this is not possible all the time. But generally, everybody is responsible for their own instrumental parts and ideas. That way, we are able to create something new, something worth playing. Nevertheless, there's always someone in the band with ideas and concepts to overcome possible gaps of creativity. For example, Quritte always has some ideas of what the drive of a song should be like in order to preserve tension and excitement. Will Ahnengrab ever headline Wacken?! Who knows, Scorpions are almost retired, U.D.O. won’t live forever, Kreator is not that young, maybe your time is coming in the next 10-15 years? But Edguy will probably still be around! Quritte: Hahaha, BIG TIME! Our time will come and realisation plans have been made already. And even if this time won't come: We still have the best hobby on earth! So stay heavy, praise the Eierklaus and listen to Omen, Metalheads! Thanks for your time! THE END. -- --

REVIEWS by MMB

Absence of Light (Kenya): Vyom Chakra (Extreme Metal Africa) Here is a band laboring to bring their metal to the world. Have you heard Absence of Light yet? No? Maybe you should?! Death metal intensity is their main objective. “Daksha” is blasting speed, riffs of immediate impact and it is a ripping track. “Arkasodara” works the atmosphere, a slightly dissonant and cold feel, but when the heaviness kicks in, it says: "It's ok, everything's going to be alright. Absence of Light is here." Heavy, cold and then the speed kicks in. Absence of Light is working all the angles, keeping it intense and heavy, but not monotonous.

“Kalasamhara, I” displays a massive, Behemoth-like quality that dares the listener to not like it. “Samadhi” works the heaviness in a more balanced way between speed and atmosphere: spacy, massive and fast. This is a cool way for a band to start, with an E.P. of good, headbanging death metal, with excitement and energy.

To sum up: give Absence of Light your support on this recording. It will be interesting to see where they go after this one, but for now, they have these songs to show you the landscape. Their music is available for free at ReverbNation. OK, so, go look them up and get in touch with them! Send them a message and let them know that there are human beings rocking out to their death metal. I’m sure they’d love to hear from you. www.reverbnation.com/absenceoflightkenya www.myspace.com/aolke

Alexander Paul Blake (Germany): Die Rückkehr ins goldene Zeitalter (Einheit Produktionen) This is on Einheit Produktionen, so that means it is going to be a quality release, basically. This particular album sounds like black metal for novelists, poets and maybe those metallers who want something with some sophistication.

Were we wondering just what is 'Romantic Black Metal'? Well, with Alexander Paul Blake's music and its ambitious focus on folk, prog and black metal, we have our answer right here. For the metallers that like music that is an adventure, this album will be a pleasure for sure. It’s for banging your head, or for having a cup of wine and sitting by the fireplace, or both. Part black metal, part moody/atmospheric, it has lots of moments of totally black metal speed, but just as importantly, it has mellow moments of mellow guitar. The album is more than an hour of music, so listen with a patient, open mind. This will take time to understand.

Those who suffer from that disease that their metal can be only instant and easy to understand, will most likely want to avoid.

But fear not, Cannibal Corpse, Six Feet Under and Overkill have new music out…or maybe you like Cannibal Corpse and Alexander Paul Blake! Why not? Who made up the rules about this, anyway? www.alexanderpaulblake.de Avenger (Czech Republic): Bohemian Dark Metal (Deathgasm) Avenger is excellent. Here is why. Avenger knows exactly what I was thinking about heaviness. (Mind readers? Maybe. If you like old Bathory, early Celtic Frost and classic Master’s Hammer, then you know, that, indeed, Avenger has read your mind very well.)

Heaviness. The atmosphere is great: the heaviness is accentuated with the sounds of timpani, and let me tell you, that really makes a huge difference. Heaviness is not “loudness” and heaviness is a “breakdown” or a chugga-chugga riff. Heaviness is a musical perspective and a feeling. With Avenger, you can hear the guitar riffs, and there is something in the air about the whole sound that is twisted and dark. What is timpani, you ask? Listen to this and you will know.

What Avenger has is personality, in a big way. If you like black and death metal, but you want a lot of quality, then Avenger is most definitely for you.

If you hear this album and you don’t “get it” at first, make the correct conclusion: your ears are not working right. Play it again and your rusty brain will start operating.

Speed, heaviness, doom, atmosphere, and strong songs: it is all here. “Vstric dalkam” is doomy, and then blasts into spirally twisted chaos. What a great song! “Vitej zpatky doma…” is ominously stormy sounds of doom and darkness. “Dark Metal” has such a wonderful initial riff and atmosphere, and from there, it just gets better. “Fales apatie” is a black metal storm of speed, headbanging riffs and those twisted, sick vocals make this perfect. Avenger is awesome for many different reasons. These are just some. www.bandzone.cz/avengerband www.deathgasm.com

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Desultor (Sweden): Masters of Hate (Abyss Records) I was listening to the second song called “Another World” and I thought, “Nevermore with blastbeats.” Of course, that’s not totally true. Maybe “extreme metal with traditional/high vocals” would be more accurate. After all, Nevermore’s guitar work doesn’t really sound this thrashy and the drumming is not this fast, so on and so forth. Desultor, as a musical idea, probably sounds strange to some people: Thrashy/speedy guitar work, with some definite death metal leanings (so, basically, heavy stuff); fast/blasting drum work, but with clean vocals. So, on this album, with all the speed and thrashiness and death metal speed, at no time is there some talentless hack cupping the microphone and eating it like a turkey sandwich and just burping into the mic and claiming he is doing “vocals”?? No!! There is not!! There is no one barking like a dog on this album, and no one growling about zombies and horror movies.

Desultor keeps it fast, blasting, thrashy/deathy and it is easy remember it all because of the clean vocals. “Nevermore” with blasting speed is not the best description, but if you are curious, that should at least sound like a proposition to look into. Yes, I know, this doesn’t actually sound like Nevermore. That’s because this is not Nevermore. This is Desultor. A different band. See what I did there? www.myspace.com/desultorsweden Eye of Solitude (U.K.): Sui Caedere (Kaotoxin Records) The description of the music of Eye of Solitude might not sound that interesting and the label/category of the music might make some people stop reading as soon as they read the label. A swift “No, thanks. I don’t like that genre,” might be the reaction.

It’s too bad, really, because Eye of Solitude, for one thing, pleasantly surprised me with how memorable and likeable their songs are. Secondly, their playing makes them stand out in a genre that seems so “specialized.” Eye of Solitude displays a melodic/melancholic sound that goes at a crawling speed, with a super duper heavy atmosphere. Of course, that means the drumming is definitely slow.

The vocals are a gentle super low growling. In other words, the growling sounds like a benevolent monster, but a monster nonetheless. I think, to most metalheads, the vocals will not be a problem because it is not an annoying style, with weird screams and things like that. Rather, it is another instrument for heaviness.

Eye of Solitudes strikes a balance, on one hand, between melody, melancholy and memorable songs, and, on the other, a heaviness reserved only for the heaviest of the heavy, in the realm of funeral doom and death doom. If you are very knowledgeable of doom death or funeral doom or gothic-death metal, you will probably identify the influences much more clearly than I can.

The “funeral doom/doom death,” the really, really super heavy/slow stuff is not always the easiest music to get into, but the point is that Eye of Solitude is, in my view, different because I think that it certainly is easier to understand, to remember and to like. I give two examples. First up, “Performed in Graphic pain,” (6:40) has an instantly likeable melody, thanks to the atmosphere of the keyboards and the very nice melodic work on the guitars. The drumming is slow, with some midtempo moments. If you like slow guitar melodies and keyboards, in the context of a very heavy doom/gothic context, there is a lot to enjoy here. The guitar work in this song gives identity, and it’s all held together with a foundation of melancholic, monster-growl vocals and heavy guitars. In short, an excellent song. Example number 2: “A Note to Say Farewell” (7:20). This song really rides the slow, melancholic guitar notes, with serene, quiet moments. The guitar sounds like it is working on just a couple of different notes and turning those notes into a melody that will stick to your mind with just one listen. Once you grasp the melodies, you will not care that the song itself is actually quite slow. That’s remarkable: that it does not matter if the song is slow or not. Yes, this is that good. To sum up: don’t pass up the chance to hear a band play really heavy doom/death/gothic metal and do it very well. www.reverbnation.com/eyeofsolitude www.myspace.com/532286172 Fester (Norway): A Celebration of Death (Abyss Records) This band does not hide the songs behind any tricks. There is no gimmick going on because they do not need any.

Fester’s music is centered on the objective of creating a mood. Therefore, what is essential is not how fast, brutal or grim the songs sound, though Fester sounds completely within the territory of death/black/doom. The result is songs that are surprisingly easy to remember and get into and to make you nod along in agreement with the first couple of listens since it’s easy to keep up with the uptempo/midtempo pace. “The Black Tower” is very likable, despite the fact that it is dark, brooding and grave in mood: it is a miserably catchy song. “I’ll Hunt You Down” is just fun; sounds angry, but in a catchy way, with their dark guitar melodies. “Metalized” is a bit on the brutal side of things. No messing around, just a heavy, uptempo number. Fester is not a band to do blasting speed, the music goes a uptempo/midtempo pace, that way the listener can keep up more easily, without distractions. You don’t need to hear the music 50 times to figure it out and decide if you like it or not.

A word about the production: this album does sound like it was recorded in a cave. You can turn it up really loud, and you still will not feel like you are right there where the action is taking place. It will sound like it is “down the hall,” as a friend of mine likes to say about this type of sound quality.

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Be that as it may, but this album has feeling and it has plenty of sinister heaviness, as well as fun hidden melody. www.reverbnation.com/festernorwaybm www.myspace.com/festernorway Power Theory (U.S.): An Axe to Grind (Pure Steel Records) Straight-up, no-tomfoolery, rocking, mean, traditional heavy metal, as Power Theory have learned from bands like Accept and Judas Priest. Some important details: Power Theory has a gritty, hard, street heavy metal sound; thus, this is not “keyboard metal,” nor “symphonic” stuff: just loud guitars, with heavy-metal riffs, and heavy-metal solos; midtempo and uptempo drumming that concentrates on hitting hard (speed is not the main thing) and double-bass kicks in the correct places; and a singer that sounds in the Udo Dirkschneider/Lemmy style. To be as clear as possible: if you like the rawer heavy-metal-as-heavy-metal style, Power Theory is a band you should definitely investigate. No sugary melodies, no breakdowns, no blastbeats, no thrash, no core, no emo, no cookie-monster vocals, no stupid hardcore yelling, and any kind of stuff like that.

“Deceiver” has thick, brick wall heavy metal riffs, with a memorable chorus. This is an instant-impact song. “A Fist in the Face of God” is made for the live setting, like those traditional metal audiences in Germany that go crazy for this, and with good reason. “Puresteel” highlights those gang-shouted background vocals, like U.D.O./Accept, and sounds like a heavy metal anthem. Actually, all these songs have the feeling of anthems. www.reverbnation.com/powertheory Brutalisickness Aaargh Woof Woof Barrage Attack Attack Assaults!!! Anhedonist (U.S.): Netherwards (Dark Descend) Slow, crawling, massively heavy death doom. Slow misery, don’t want to sound happy or upbeat, just want to play as heavy as death metal, and with as much feeling as doom metal.

There are brief bursts of speed, but it’s an overwhelming total death doom, as in “Saturnine” (9:45). “Estrangement” (10:13) might as well be a continuation of the first song because my ears are melting with doom. What was the difference between this slow, churning song and previous slow-motion catastrophe, anyway?!

Anhedonist makes Candlemass and Obituary sound positively cheery, happy and sweet. Anhedonist is going for the following world records:

1. The heaviest band in the universe. 2. The slowest band ever. 3. The most miserable music. Miserable bastards of doom… and loving it.

www.myspace.com/anhedonist www.facebook.com/pages/Anhedonist Antropofagus (Italy): Architecture of Lust (Comatose) “Architecture of Lust” makes it clear they love old Suffocation, and high-energy blasting death metal. “Demise of the Carnal Principle” goes for brutality and a little technicality, maybe a little Origin. “Eternity to Devour” is another example of total aural assault mentality.

Alright, no surprises, just more of the same brutality, so let’s get to the point. In the world of Antropofagus the songs revolve around certain elements: 1. Blast a lot; go really fast a lot of the time. Good! 2. Make sure no one understands the growling and make sure to keep it low-guttural all the time: avoid any variety at all costs, very few screams, no changing the vocal tone, and keep it monotonous for every song. 3. Use a fundamental play-on guitar tone and riffing: they know “brutal death metal” and have a university degree in it. Let’s just say that the guitar will not disappoint anyone who wants it Suffocation-style. Good album, good album. Personally, I think the guitar work and the vocals need more intensity, more energy, more wild, outrageous frenzy. “Sadistic Illusive Puritanism” has a good solo, but they need more of that and bust out with some wild energy!! The band has proven they are brutal, so they should explore the territory they are in, and let the guitars be more active in the brutality, and less restrained.

The vocals: how about more screaming, higher, and even lower; find more ways, more shades of brutality. There is no need to make it monotonous and so restrictive. Attack the microphone!! And the drumming is fine. Keep it fast! www.reverbnation.com/antropofagus www.myspace.com/antropofagusofficial Brutally Deceased (Czech Republic): Dead Lovers’ Guide (Lavadome) The quick, easy way to describe Brutally Deceased is: a younger, hungrier, rawer Dismember with well-placed bursts of ultra-high speed used for emphasis. Traditional, classic Stockholm/Sunlight Studio from 1990-1991 is what really, really drives Brutally Deceased. ¿Comprende? I think so! Oh, yup, they do a cover of Dismember’s “Override of the Overture.” This is less polished than the original because Brutally Deceased is rawer. Fanatics of the old-style Swedish death metal sound are particularly going to be happy about this one, for sure. www.myspace.com/brutallydeceasedband Cardiac Arrest (U.S.): Vortex of Violence (Ibex Moon) Cardiac Arrest plays nothing but brutal death metal. The growling is low, and the blasting is constant. Here’s a clue. Suffocation. Lock Up. Bands like those. Mainly, fast and heavy. Lots of heaviness, and on a death metal mode of blast and growl and bang your head, now. If you hate the brutal stuff, you best keep walking because Cardiac Arrest don’t like you very much and want you to go listen to whatever you like, as long as you stay away from them.

Cardiac Arrest is just nasty stuff. Fun, too. Success!! www.cardiacarrest666.com Deadborn (Germany): Mayhem Maniac Machine (Apostasy) Deadborn relies on speed—fast riffs and fast drumming—to get their point across: loud and fast death metal. Deadborn’s reliance on speed, of course, will be perfect for those that prefer no-nonsense death metal. If you want your music not messing around, then Deadborn knows your name.

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The songs are between 2 and 5 minutes, on average: very little fat, all muscle. As such, for this very reason, Deadborn is quick to get the job done and be gone. Once the cd stops, the speed and fury will remain in your head, for sure. Where Deadborn will need to improve is the guitar work. The blasting tends to obscure the fact that the guitar work, while competent, could use more outstanding riffs. Most of all, Deadborn sound eager to get in front of a group of human beings that want to hear some loud music! They believe in not wasting people’s time with wankery, bass and keyboard solos and long songs. Deadborn’s music is closer to blasting death metal than any other category, so the energy level is high throughout. www.myspace.com/deadborn666 Deadly Remains (U.S.): Severing Humanity (Deepsend) Chugga-chugga death metal and blast and groove. They depend a lot on the play-on riff: the chugging guitar riff that seeks to make the audience mosh. They want the listener to stand up, and mosh. The growling thrives on the low-muttered completely woof-woof. Deadly Remains’ objectives are basic. So the music sounds likewise. The guitar sound is particularly annoying to me because it comes from the Zakk Wilde school of playing: at every moment the guitar makes a high-pitched irritating sound. Pinch harmonics is one of the most annoying things in guitar playing, but especially when it becomes “the thing” about the songs. Final verdict: good energy, nice blasting, loving the intensity. Now Deadly Remains only has to stop their guitar player from being so annoying. Stop! Stop! Just play a riff, man! www.deepsend.com Fisthammer (U.S.): Devour All You See (Horror Pain Gore Death)

Part brutal, blasting death metal, part melodic/thrashy Fisthammer wants everybody moshing. Not really a band to stay within one particular, narrow style, Fisthammer appears to be brutal death metal, with other spices. The low, growled vocals and blasting certainly create a particular mental image of brutal and memorable songs. Tell Fisthammer what you want! They have it. Speed? Check. Blasts? Check. Fury? Check. Power ballads? Nope! Jazzy parts? No! Fisthammer succeeds in balancing brutality with memorability. Far from boring or monotonous, Fisthammer has songs that show the desire to be creative, and it shows. Good!! www.myspace.com/fisthammerband Hypnos (Czech Republic): Heretic Commando (Einheit Produktionen)

Hypnos’ death metal can come across as cold and off-putting, but if you give yourself time to adjust, you will find a band working to balance intensity with strong songs. “In Love with Death” functions on the basis of a midtempo feel of heaviness and a tiny amount of melody. The little melody works well with gruff death metal. A strong song.

“Burning Again/Hymn of Eternal Fire” is one of the best songs here. The riffs are good, and a few semi-melodic licks work with the quality death metal that Hypnos is aiming at.

“Alliance of Snakes/Reptilian Conception,” by comparison, is a short piece of speed and intensity. An effective song. “Extremely Dark Days” and “Versus the Void” are tracks that go for headbanging metal. These are the songs that have a more immediate impact. It’s practically impossible not to like them! These are not all the songs on the album, just some examples. A nice balance of heaviness, speed and songwriting. Good job. Good songs, no weakness. What else can you ask for? Look into this band if you like to check out bands that are intense, but that also make a serious effort to have songs that are distinct from each other. www.hypnos-cz.com Kraanium (Norway): Post Mortal Coital Fixation (Comatose) This may be exciting to the band themselves, and also metallers who are new to the genre of midtempo/slow-ish “woof-woof, burp-burp…brootal” dog-barking metal. The low-level of creativity and lack of energy (too many slow/slam moments) are not exciting to these ears. Look into this if you like slow/midtempo, very basic, repetitive burp “brootal” music that has extremely low-IQ horror/gore lyrics. It may be kind of fun on the first listen, for the first few songs, but this is not something to listen to in order to find intricacy, undiscovered layers, interesting instrumentation. www.comatosemusic.com Sexcrement (U.S.): Sloppy Seconds (Comatose) This type of chugging guitar lacks imagination: all the songs sound like “chug-chugga-chugga-chug” and repeat. This is supposed to be heavy and brutal, but doing play-on/chugga-chugga repetitive guitar riffs offers little in the way of getting the attention of the listener who is looking for frenzied energy, aggression, power, anger, creativity or just a good amount of musical talent. This is supposed to be “groovy,” I guess. Are “groove” and chugga-chugga guitar work the same thing? Maybe? Investigate if you like midpaced chugga-chugga guitar and lowest-common-denominator gore lyrics.

Look at the name of the band. What are the chances this will be intelligent music? ---

More info on this zine: www.fuglymaniacs.com and www.metalbulletin.blogspot.com and www.myspace.com/themetalbulletin September 20, 2012