December 27th, 2015 (no.4 in December) www.metalbulletin.blogspot.com www.twitter.com/MetalBulletinZn Washington state, U.S. www.facebook.com/The-Metal-Bulletin-paper-zine-238441519609213

War Atrocities Runemaster (free)

Endless Recovery Vendul (free)

prog countdown: top 30 of 2015: 20-11 by The Man of Much Metal concert calendar upcoming concert: January 2, 2016 in Everett: Zafakon, Calamity, Kill Closet + more shows www.fuglymaniacs.com (issues online, videos, …)

— "Necromantical Legions" 2015. Split "Struck by Metal Bulletin Zine Warwhip" (w/ Whipstriker) 2016. P.O. Box 1339 www.waratrocities.bandcamp.com Lake Stevens WA 98258 USA www.facebook.com/War-Atrocities-

Metal Bulletin Zine #1-20: (2006-2009): Wisconsin 513707558681644/ #21-26: (2009-2010): Texas #27(2010)--now; Washington state ** Runemaster (U.K.) All reviews, news, updates below are Wisdom & Darkness by MMB, unless stated otherwise. -— release: December 5th, 2015 NEWS: War Atrocities (Croatia) Necromantical Legions release: December 24th, 2015 Witches Brew Below is a bit of information about this from Croatia. Listen to the recording at the link below, too. **

This "epic heavy metal" band is from Scotland. They started in 2007, but in 2015 they have two EPs, not just one. This one is the second one. They say that they love metal and they give a list of bands that they like. Of those

War Atrocities is a solo project existing since bands, you could say that they are in the style 2011, handled by Wastelander ( & of Grand Magus, old Manowar and High On vocals) and hailing from Croatia. Style can be Fire, speaking very broadly about the general described as black/ with sounds of this band, a type of traditional speed/crust influences, accompanied by doom-ish heavy metal. evil/death/war related lyrical themes. Session 1.Path of the Serpent 05:54 member Nesveti Alkar(roughly translated into 2.God Has Himself to Blame 04:28 Unholy Horseman) plays and records bass 3.Pillars in the Abyss 07:40 since 2014, but various other musicians total time 18:02 jump in from time to time. Demo "Intoxicated www.runemaster.bandcamp.com Madness" released on tape in 2014. EP www.facebook.com/runemaster/

** with caustic lyrics against the political system NEWS: and all the odds that the reality of the capital Endless Recovery have forced us to live under. Revel in Demise In 2014 they released the EP "Resistant Bangers." release: December 24th, 2015 Right now,they are sharpening their axes to Witches Brew unleash their thrashing might with their second full length album due in late 2015 by Witches Brew. ** Vendul The Coven Rises release: September 10th, 2015

This "black metalpunk" is from Germany and was founded in 2012. This is a raw demo that follows the the tradition of Venom, Darkthrone, /Hellhammer and other similar bands that they say that they consider influences.

1.Intro - The Bells of Whitewood 01:30 2.Burn the Witch 04:20 band history: 3.Nuclear Fever 04:31 4.Metal Punk Attack 02:33 5.The Coven Rises 04:01 Endless Recovery is a Thrash Metal band from total time 16:55 Athens, which was formed back to February

2011. In the first steps of the band, there were www.vendul666.bandcamp.com/album/the- a dozen of lives playing some covers and new coven-rises material. www.facebook.com/blackened.thrashing.hat Until March 2012, when Endless Recovery e.metal released a 5track EP, called “Liar Priest”. It was recorded in band’s home studio by Grigoris

Serelis ( ex. Guitarist), mixed & mastered by Nikos Papakostas at Entasis Studio. progster’s paradise: The band performed some gigs as a support to Convixion (GR) and Deceptor (UK), top 30 albums of 2015: Mentally Defiled (GR) and Astrarot (GR) to promote its EP, which has been sold out and 20-11 counts over 500 online free downloads worldwide. by The Man of Much In February 2013 the band entered Entasis Studio to record its debut album, called Metal “Thrash Rider”, an album of primitive thrash 3

The Man Of Much Metal—a friend of Metal the annual countdown to 30. I hope this Bulletin Zine—is currently doing a countdown. doesn’t put too many of you off, but I honestly Below you will find more information about his believe every entry in this year’s list deserves blog. Read on especially if you support prog. their place. I shall spend the next month trying - to prove it to you. - by The Man of Much Metal. Whilst I number each release and will count down from 30, the spots from 30-16 are more Here we are again, at year’s end. I can’t arbitrary and each can be considered to be believe that another 12 months has passed as equal as each other, with the final 15 in a since I began my countdown for 2014, it solid order according to my personal and very doesn’t seem that long ago. And yet, in the subjective tastes. I’m sure there will be some intervening period, a lot has happened. My debate about who I’ve missed or who eldest daughter has started nursery whilst my shouldn’t have made the final cut, but I’m youngest has changed from a new born baby keen to hear all views – bring it on! into a cheeky, happy one-year-old. I have also moved house, relocating about 15-20 number 20 miles but remaining in the beautiful county of Arcturus Suffolk. I therefore have a new ‘Mansion of ‘Arcturian’ Much Metal’ to use as the Blog Of Much Metal HQ. Prophecy Productions

Then there’s my decision to leave Powerplay * Magazine after ten great years. The reasons are numerous but the result is that I get more time to focus on the Blog, my labour of love.

But, most importantly of all, the last year has blessed us with some amazing music. 2015 has been unbelievable in terms of the sheer quality of music but moreover, the depth of the quality is staggering. I have spent weeks mulling over my Top 20 of 2015 but it has proved impossible. On the advice of many of my kind and loyal followers, I decided to increase the countdown to 25. However, when it came to compiling the list, this was still impossible.

The aim of this blog is to get as much For someone who holds ‘La Masquerade exposure for great music as possible. It feels Infernale’ in such high regard as one of the unfair therefore to limit the countdown to 25 best avant-garde metal albums ever bands/artists when there are bands that miss recorded, the intervening years have not out that are equally worthy of the plaudits been as kind on Norwegian eccentrics they deserve. As a result, I have expanded Arcturus. A couple of albums that failed to hit 4 the same heights and then a protracted are present and correct throughout hiatus meant that much of the momentum ‘Arcturian’. What I perhaps was less ready for was lost and the band were in danger of was the sheer amount of accessibility and consigning themselves to the pages of melody that has been injected into each of extreme metal folklore. the ten songs. Based on the comments within the preceding paragraph, I’m not for one But then, I wasn’t banking on ‘Arcturian’. If minute suggesting that Arcturus circa 2015 is ever there was an album to signal a easy listening or that they have lost their comeback from the wilderness, it is this one. eccentricity. How could they with such an Arcturus version 2015 is comprised of Steinar enigmatic and unique vocalist at the helm in Sverd Johnsen (keys), Hellhammer (drums), the form of ICS Votex? Knut Magne Valle (guitar), Hugh ‘Skoll’ Mingay (bass) and ICS Vortex (vocals). However, there is something to be heard in Together, they have created an album very just about every track that sticks in the mind. It much worthy of their lofty status and one that might be a vocal line or a subtle melody, but I would argue just about manages to match it’s enough to draw you in for repeated listens. the quality of ‘La Masquerade Infernale’. And once you return, you are taken on another quirky voyage of discovery where If you’re interested in reading my full in-depth something new is discovered each and every review of this record, it can be accessed by time. clicking here. However, to quote a small passage from it: Given the space I have here, it’s almost impossible sum up ‘Arcturian’ in a concise “…they (the songs) are all dense, multi- manner and do it the justice it deserves. That layered affairs that contain an abundance of said, if you’re a fan of Arcturus at their most richness. There are no songs that tend to original, challenging, audacious and quirky, extend over six minute mark and yet, such is prepare to take ‘Arcturian’ straight to your the ambition of Arcturus that it feels like a heart. million different ideas are injected into each * composition, testing the listener and toying with them at every turn. I strongly suspect that number 19 this has been done with a certain playful, yet Triaxis mischievous intent. Those strong Vaudervillian ‘Zero Hour’ overtones of the band’s past make a welcome return, as do a number of various Rocksector Records influences that pull Arcturus away from being simply discarded as a band. As * they demonstrate on ‘Arcturian’, there are From the heart of South Wales comes a band elements of black metal to their underlying that does things the right way. A strong work sound but they deliver so much more that to ethic, abundant touring and a warm rapport pigeonhole them in such a way would be and interaction with fans both in person and inaccurate and disingenuous.” over the Internet. It’s no wonder that Triaxis have taken the title of being the metalheads’ I was expecting highly accomplished song- metal band – they certainly deserve the writing and a slick execution, both of which accolade. 5

Krissie conveys with her singing. However, in However, most fundamental of all, Triaxis addition, there’s a demonstrable NWOBHM maintain a steely focus on creating the best and classic metal vibe to much of the music that they possibly can. The result in 2015 material. The likes of and Judas is ‘Zero Hour’ the quintet’s third full-length Priest to name a couple are referenced album and what an album it is. I have been thanks to Triaxis’ love of galloping tempos, an admirer of Triaxis since their debut and I harmonies and choruses that contain enough can safely say that ‘Zero Hour’ represents a hooks to catch a whale. And then, there big step up in just about every department. are also a few more modern twists for good The riffs are more incisive, the melodies that measure, including a smattering of - little bit bigger and more infectious, the tinged growls to compliment the clean voice singing, the playing, the song writing; as well as the occasional use of synths and everything is just that little bit better, meaning sampled sounds away in the background.’ that Triaxis have thrown down a massively impressive challenge to their rivals. It isn’t my best example of descriptive prose but it gives the uninitiated a rough idea of what to expect. Of course, what I could have said was ‘if you love proper heavy metal, you’ll love Triaxis’. That would have been far simpler and just as accurate to be honest.

Having lived with ‘Zero Hour’ for half a year now, what strikes me more than anything else is the subtle variety that’s on offer across the 12 tracks that make up this record. From the majesty of ‘Liberty’ to the thunderous battery of ‘Death Machine’ and from the NWOBHM- inspired ‘Terraform’ to the more melodic hard

rock swagger of ‘Stand Your Ground’, this is a I penned a full review of ‘Zero Hour’ earlier in record that delivers on a number of levels and the year. If you want to read it. I also never gets old or stale; several months down interviewed the delightful voice of the band, the line and the music remains as fresh and Krissie, the result of which can be read here. vibrant as it did at the very beginning.

The overall sound of Triaxis is deceptively If there is any justice in this world, ‘Zero Hour’ difficult to define, so I hope you’ll forgive a should be the catalyst to propel Triaxis into the generous quote from my review which tackles big time; you can hear and feel the this conundrum in a rather ham-fisted way if confidence of the band, the music screams I’m honest: quality and every track offers something exciting for the listener. In the same way that I ‘…there are many nods to the thrash genre concluded my review, if you’re after a dose of thanks to the aggressive and powerful uncompromising straight-up heavy metal, you drumming, the barrage of tight, incisive, fast- need to hear this record. paced riffs and the overt attitude that vocalist *

6 number 18 and not of the ‘norm’, another important plus AudioPlastik point for this kind of music. ‘In The Head Of A Maniac’ West’s keyboards are another massively Bad Elephant Music important factor in the AudioPlastik sound; without the blend of subtle embellishments * and all-out symphonic and cinematic swathes AudioPlastik is the moniker given to a musical of sound that bathe the music, much of the collaboration which will have fans of drama and depth would be lost. The keys or metal music very never overpower the compositions but they interested indeed. The trio that makes up do accentuate the rest of the music expertly AudioPlastik is fronted by Dec Burke, the and deftly to create a richness that has to be vocalist for Darwin’s Radio and Frost* as well heard to be fully appreciated. as being a well thought of solo artist in his own right. Dec also plays the guitar and is joined Those familiar with Burke’s other works will by the impressive duo of Simon Andersson immediately recognise the vocal delivery but (Darkwater, ex-) and that’s no bad thing. Coupled with a superb Threshold’s keyboardist Richard West. Excited? melodic sensibility within the songs themselves, You certainly should be. there’s a tangible sense of immediacy and warmth to counterpoint the more technical At times, collaborations of this nature fail to and complex elements. Just about every live up to the billing, much to everyone’s track on the record contains a hook, melody disappointment. That’s not the case here or big chorus to grab the listener’s attention though as the final result on this debut album, and keep them coming back for more. Even the intriguingly-titled ‘In The Head Of A when AudioPlastik are at their busiest and Maniac’, is every bit as good as you’d hope it most ambitious, such as with ‘Bulletproof’, would be. there’s room for a chorus to stop you dead in your tracks. When I penned the full review (click here for that), I struggled with an adequate To conclude, I feel that I can only quote my description of AudioPlastik’s music. As a original review, as it sums things up perfectly listener, that’s to be welcomed; as a reviewer, and remains as true today as it was some it leaves me with a bit of a headache. eight months ago: Eventually, I plumped for ‘a blend of melodic progressive rock, metal and pop with rich ‘I’m completely enamoured by this album. cinematic overtones’. Several months on, I still Almost imperceptibly, it has burrowed into my can’t do better, except to say that it still head and my heart and it refuses to let go. If delights me when I listen. your tastes dictate that you enjoy music that is rich and varied, deep and thoughtful, Unlike many other prog collaborations, the beautiful and genuinely unique, look no guitars and bass courtesy of Burke and further than ‘In The Mind Of A Maniac’ by Andersson carry some real weight and AudioPlastic. You won’t be disappointed.’ therefore create a heavier foundation to the * music than I was perhaps expecting. The riffs and timing signatures are often challenging 7 number 17 with rarely a stable line-up to be found. Once again, the clientele has chaged, but the ‘’ current incarnation of Messrs (vocals), Richard Shaw (guitars), Ashok (guitars), Lindsay Schoolcraft (vocals/keyboards), Daniel Firth (bass) and * Martin Skaroupka (drums) feels like it could be As a long-term fan of this band, I must admit the strongest for a long while. And, based on that I never really expected them to feature the output on this latest release, I hope it again in one of these lists. It has been several remains together for the long haul. years since Cradle Of Filth released an album to rival their early output and I feared that What I really like about ‘Hammer Of The perhaps Dani Filth and co. might have hit their Witches’ is the really nice blend of music on peak early and started their descent (at least the album. It sounds modern and relevant, in as far as I am concerned) into the abyss of keeping with their more recent releases but it mediocrity. How wrong could I be? also manages to reintroduce some of the traits that helped to define those earlier albums. From the opening ubiquitous instrumental ‘Walpurgis Eve’, it is evident that the cinematic and theatrical bombast has returned. Cradle Of Filth have always been an extreme metal band with a spine of black metal and lush Gothic overtones but, to my mind, have always been at their best when pushing the envelope in terms of the symphonic and dramatic aspects albeit often imbued with a darkly mischievous sense of humour and clever word play.

‘Enshrined in Crematoria calls to mind the likes I’d heard whispers online and cryptically from of the classic ‘Nocturnal Supremacy’ for Mr Filth himself that Suffolk’s favourite dark- example, before veering into more of a 90s hearted bunch may be making a return more Gothenburg-esque melodeath meets black closely to the blueprint of the early days metal direction. And yet, the groove and having experimented with different heaviness of one of the central riffs is approaches and styles over the intervening infectious and an excellent counterpoint to years. For me, as someone who joined the the speed and frenetic nature of the Cradle Of Filth cause around the release of surrounding material. their debut, ‘Principles Of Evil Made Flesh’, this was music to my ears. But I still approached ‘Deflowering The Maidenhead’ on the other ‘Hammer Of The Witches’ with caution having hand is swamped in rich orchestration in the been disappointed in the past. best ‘Dusk…And Her Embrace’ traditions whilst also incorporating the kind of melody that One of the problems over the years has been wouldn’t sound out of place on the 1998 the curse of the ‘revolving door syndrome’, album, ‘’. 8

To quote the full review I wrote around the highlights of 2015 for me. Not only is time of it’s release: “There is simply no let-up in ‘Epistemology’, the sixth album for Keep Of the quality either as the title track breaks open Kalessin an absolute monster, it is the album the harpsichord to compliment more that has helped me to see the light when it wonderfully wrought staccato riffing and a comes to a band that I had dabbled with but mass of symphonic and cinematic theatrics had never really ‘got’ and was on the verge that underline the fact that Cradle Of Filth are of being shelved forever more. There’s nothing at their best when they are churning out that I love more than being proved wrong pompous, grandiose and downright over-the- and hell, have proved me top music that revels in its own decadence wrong. and malevolent extravagance. Elsewhere, the lead ‘single’ ‘Right Wing Of The Garden Triptych’ offers bombast, plenty of melody and heaviness whilst also bringing the male/female vocal jousting to the fore. Lindsay Schoolcraft has a great voice that’s the perfect fit for Cradle Of Filth thanks to a demonstrable flair for the dramatic.”

A great production and those darkly poetic lyrics wrapped up in a grand concept story only add to the undeniable majesty of ‘Hammer Of The Witches’. Put all these I had been of the opinion that this Norwegian elements together and we’re inexorably band were a bit of a one-dimensional heading towards an overall package that extreme metal band, that churned out music simply cannot be ignored. As I also said during that was all-too-similar and lacking in variety. my review, “this is the most excited and This is simply not the case at all, at least where enamoured I have been with Cradle Of Filth ‘Epistemology’ is concerned and it has forced since the late nineties and there’s a reason for me to re-evaluate my opinion of the band. that; ‘Hammer Of The Witches’ is an Indeed, since being on the receiving end of exceptional album, one of the band’s very such an epiphany, I have revisited the Keep best.” Of Kalessin back catalogue and I find myself enjoying the previous albums a lot more now I staunchly stand by this observation several than ever I used to. Like I said, I love being months after the dust has settled, too. proved wrong, especially when it leads me * into listening to good music with a fresh pair of ears. number 16

Keep Of Kalessin The other great thing is that I was able to ‘Epistemology’ review this record around its release from a Indie Recordings viewpoint unhindered by bias or with an opinion coloured by the music of the Keep Of * Kalessin back catalogue. If you’re interested This album has been one of the many in reading the full review, it can be accessed 9 here. ‘Necropolis’ has a great groove that forces the listener to headbang whether or not they However, to summarise it as succinctly as wanted to. ‘Introspection’ on the other hand, possible, the music of ‘Epistemology’ is begins quietly with a theatrical synth-led nothing short of epic. It is multi-layered, multi- opening before hurtling towards a huge, faceted and an utter joy to listen to from start anthemic power metal-esque chorus via more to finish. It’s not recommended for those lightning-fast rhythms and riffs. looking for an instant hit of gratification but for anyone looking for some intelligent and rich In conclusion, I return to my original review: black-tinged extreme metal with melodic and ‘For someone who wasn’t expecting much, I symphonic flourishes to get their teeth stuck must admit that Keep Of Kalessin have well into, ‘Epistemology’ is perfect. and truly blown me away with this record. ‘Epistemology’ contains just about all the To briefly quote my review, ‘what surprised me things I like from extreme metal these days; initially is that such a huge, epic sound can be the combination of extremity, technicality created by a mere three people. Obsidian C and overblown grandiose melody and handles the vocals, guitars and the bulk of the atmosphere is truly a thing of beauty and writing it would appear. However, he is more something special to behold. Magnificent.’ than ably assisted by drummer Vyl and bassist * Wizziac, both of whom make an impact on this record.’ number 15 Spock’s Beard After a diminutive yet grand cinematic ‘The Oblivion Particle’ instrumental opening, the album truly comes alive via the utterly sensational ‘The Spiritual InsideOut Music Relief’. With a running time of just shy of ten minutes, it’s the longest track on the album * but it flies by in a flurry of magnificence. It is a If you’d said to me a decade ago that I’d contender for one of the best songs of the enjoy the progressive rock genre quite so entire year thanks to the way in which is much, I’d have chuckled at the very notion. combines black metal, prog, power metal However, as time has passed and I’ve grown and into a cohesive whole a little more broad-minded, it is a genre from that flows from idea to idea seamlessly and which I derive a considerable amount of with unbelievable deftness. enjoyment. More so when the quality of the output is as high as it is here with the latest Happily, the quality rarely diminishes offering from Spock’s Beard, a name culminating in a very consistent record and synonymous with the highest standards of the one that I return to regularly, even after the genre in any case. dust has settled and the immediate euphoria has died away. This longevity, if nothing else, Spock’s Beard 2015 is comprised of Alan underlines the quality that’s on offer with Morse (vocals, guitar), Dave Meros (bass, ‘Epistemology’. vocals), Ryo Okumoto (keyboards, vocals), Jimmy Keegan (drums, vocals) and Ted Elsewhere, ‘The Grand Design’ expertly blends Leonard (vocals, guitar). And, with ‘The extremity with sumptuous melodies whereas Oblivion Particle’, the quintet may just have 10 delivered their best album yet. prog rock. The lead vocals from Jimmy Keegan give the song an almost 60s pop vibe Since it’s release, I’ve heard a lot of differing but, complete with a darker mid-section opinions of this record both positive and extended instrumental workout, its a negative. Those who have been more wonderful piece of music that immediately negative have suggested that the material on gets under your skin and will have you singing ‘The Oblivion Particle’ is perhaps not as along with gusto. immediate as previous albums. However, I humbly disagree. It is fair to say that the Then there’s the more straight-up hard rock output is a little more ‘progressive’ and attitude of ‘Get Out While You Can’, the maybe even a touch quirkier. But that said, utterly stunning and majestic ‘The Centre Line’ this album pressed all the right buttons for me which is driven by a galloping tempo and almost right from the very beginning. which contains yet more delicious melodic hooks as well as some peerless musicianship. To quote my original review which can be ‘To Be Free Again’ is arguably the most epic read in full here: ‘My overriding first impression and cinematic track on the record whilst the of album number twelve was of a collection closer ‘Disappear’ is arguably the most of songs that, whilst new, felt strangely familiar catchy track on the record with a chorus to and welcoming. Within moments, it was die for and a guest appearance from violinist obvious who I was listening to. I don’t mean David Ragsdale. this to sound derogatory, quite the opposite in fact but ‘The Oblivion Particle’ instantly felt As prog rock albums go, ‘The Oblivion warm and comforting, as if being greeted by Particle’ is up there with the very best and, in one of your oldest and well-loved friends after a year of some great releases within the a lengthy absence. However, having delved genre, it stands out above the rest. into it in much more detail, I’m also pleased to * report that, as familiar as much of the content is, there are plenty of differences to explore number 14 within the nine compositions.’ Paradise Lost One of the principle differences is the heavier sheen to a lot of the material. We’re not ‘’ talking extreme death metal riffs or growled vocals of course but as evidenced on the chunkier and robust ‘Get Out While You Can’ * or the opening to ‘Minion’ for example, I’ve been a fan of Bradford’s Paradise Lost for there’s the occasional riff, bold crescendo or a lot of years. I discovered them via their overall atmosphere that raises an eyebrow seminal album, ‘Draconian Times’ but was and, in my case, brings a smile to my face. quick to delve further back in time, discovering other gems in their back Then there’s the fabulous ‘Bennett Built a Time catalogue. To this day, the criminally Machine’. A contender for one of my underrated ‘’ remains my favourite songs of the entire year, it is a bright favourite Paradise Lost album, so it is with and breezy composition that I can only be genuine joy and excitement that album describe as the kind of song that the Beach number 14, ‘The Plague Within’ offers a few Boys might have written if they dabbled with nods in the direction of this record as well as 11 many others, principally from the band’s earlier days. ‘An Eternity Of Lies’ immediately calls to mind ‘Draconian Times’ album by virtue of an After the foray into more Gothic pop-rock and immediate melody that duet with Holmes’ electronic sounds, I had dreamed for an more melodious delivery. That said, the album like this but even after a return to snarling growls are never far away and once heavier climes via ‘Faith Divides Us – Death again they feature prominently. What I also Unites Us’ (2009) and ‘’ (2012), I like is that this song has a really heavy bite to it never dared to put voice to my hopes. And as well as some sumptuous cinematic yet, in 2015, here we have Messrs Holmes, embellishments to add depth and a sense of Mackintosh, Aedy, Erlandsson and the grandiose. ‘Punishment Through Time’ is Edmondson’s heaviest and arguably most classic ‘’ homage, complete with a varied release for a long time. The darkly- hauntingly reminiscent chugging riff within the monikered ‘The Plague Within’ sounds modern verses. And the echoes of my aforemenioned and fresh, yet manages to pay homage to favourite Paradise Lost album continue via just about every era of their past. As such, it’s ‘Victims Of The Past’ which also introduces a nothing short of glorious. Gothic rock veneer merged with those instantly recognisable lead guitar refrains from Gregor Mackintosh circa the early 90s.

And if you want heavy Paradise Lost, then look no further than both ‘Beneath Broken Earth’ and ‘Flesh From Bone’. The former is all- out worship complete with pedestrian tempo and crushing riffs whilst the latter borrows much from the death metal genre. In so doing, it harks back to the band’s Album opener, ‘No Hope In Sight’, is nothing very earliest incarnation. ‘Cry Out’ plays short of a monster of a track that sets the tone around with a sludgy Gothic death-meets- for the entire record in that it underlines my rock ‘n’ roll sound whilst also managing to previous point by borrowing a little bit of every maintain a surprising immediacy. era of Paradise Lost, pulling it all together into one of the strongest compositions of the Arguably, the best is saved until last in the band’s career. The foreboding growls of ‘Old form of the stunning ‘Return To The Sun’. The Nick’ joust with his mellower, clean vocals that intro is a thin of savage beauty and teaches sit on top of a song that’s properly heavy but other bands a thing or two about creating which also showcases the band’s ability to truly evil-sounding music. And then, once the pen seriously catchy material. intro gives way, the remainder of the track is brutally heavy and truly epic-sounding. Follow up track ‘Terminal’ is equally as good. Built around a wonderfully crunchy central riff Veterans of the English metal scene they may and a relentless, almost metronomic mid- be but ‘The Plague Within’ demonstrates that tempo stomp it is deceptively catchy; a Paradise Lost have plenty left in the tank of cracking mix of early Paradise Lost and ‘Icon’- creativity. Indeed, as good as the previous era material to these ears. couple of albums have been, the music on 12

‘The Plague Within’ feels like it has been created by a band that remains hungry and is ‘Mitchell has both a distinctive voice and prepared to pen music that blends the old guitar-playing style and so it is almost with new and interesting ideas. The final result impossible not to be reminded of the is an album of truly epic and majestic aforementioned et al. However, what proportions. makes Lonely Robot different is its density and * the overtly atmospheric nature of the music. From the depth and richness of the number 13 compositions right through to the lyrical Lonely Robot imagery and the moniker of the project itself, ‘Please Come Home’ has the ability to both ‘Please Come Home’ uplift the listener and reduce you to tears or at InsideOut Music least cover you in goosebumps. The fact that this is no way unintentional only serves to * further underline the undeniable strength of This album has been one of the big surprises the music on this record.’ for me in 2015. Of course, I’m well aware of and his involvement with It Bites, Impressively, the bulk of the material is Arena and Frost* and Kino. Mitchell is naturally handled by Mitchell (guitars, bass, undeniably a very talented musician and keys and vocals) with Craig Blundell (drums) song writer but I simply wasn’t expecting this and Nick Beggs (additional bass) ably assisting album and the impact it would have on me. It the project. In addition however, the album literally came out of the blue and knocked benefits from a number of high-profile guest me off my feet. appearances.

The idea for Lonely Robot had been bubbling As well as Frost* colleague , under the surface for a number of years but it ‘Please Come Home’ features ’s took until 2015 for the project to see the light on backing vocals and on of day. Inspired by John Mitchell’s love for on a couple of tracks, Touchstone films, scores and cinematic music, Lonely vocalist Kim Seviour on one track and folk Robot acts as the outlet for this inspiration. Of singer Heather Findlay on ‘Why Do We Stay’ to course, the music itself is still rooted in the neo- duet with Mitchell. Renowned actor Lee prog and prog rock genres but around this Ingleby provides the narration that features skeleton is built a hugely impressive set of throughout the album, Peter Cox of 80s pop songs that offer great depth, drama and group Go West provides vocals for ‘Boy In The emotion with a tangible science-fiction film Radio’ whilst Nik Kershaw also contributes a soundtrack feel. To say the result is anything guitar solo on ‘Humans Being’. but rich and rewarding would be doing it a huge disservice. Importantly, for all the guest appearances, ‘Please Come Home’ retains a wonderfully As with many of my Top 30 picks, I wrote a full, smooth flow throughout, avoiding the pitfall of in-depth review of ‘Please Come Home’ becoming disjointed and messy which can around the time of it’s release. The review can often be the case when numerous guests be read here. However, to quote a passage feature on an album. Speaking of ‘smooth’, from it: Mitchell’s guitar playing on this record is 13 sublime; precision, deftness and a delicate touch all combine to create further Predecessor ‘’ was an atmosphere and plenty of emotion to go enormous and ambitious double-disc hand-in-hand with the lyrical content. statement of post intent. By contrast, ‘The Ride Majestic’ is the more The real key to Lonely Robot’s success honed and polished follow-up which proves however, is its longevity and its ability to keep that , whatever the line-up and me coming back for repeated listens. The whatever is thrown at them, can go toe-to- album was released within the first couple of toe with the very best within the melodic months of 2015 and yet, sitting here listening death metal genre. to it some ten months later, it feels as fresh and engaging as ever. I maintain my opinion The title track is a true statement of intent and that this is John Mitchell’s tour-de-force to a brilliant way to open up the album. Its date and like a magnet, it keeps pulling me in. strength is simply that it features a little bit of Mind you, ‘Please Come Home’ is so superb just about everything that Soilwork is known that I don’t mind falling under its spell time and loved for. Vocalist Bjorn ‘Speed’ Strid and time again. growls venomously and croons so majestically, * flitting between the two so smoothly. And then, surrounding his vocal gymnastics is number 12 nothing short of a heavy metal anthem that Soilwork builds out of a quiet clean guitar melody into ‘The Ride Majestic’ an infectious, full-power riff before launching into a catchy, hook-laden chorus that Nuclear Blast Records immediately grabs the attention.

* Love them or loathe them, Soilwork have grown into one of the most important and influential bands within the burgeoning scene. I, of course, love them and have done ever since stumbling across them via ‘Steelbath Suicide’ circa 1998 when I was trying my best to buy up everything that that this particular genre could offer me. Up until this point, I’d have to refer to ‘’ as the Gothenburg quintet’s finest hour and is a record to which I return frequently. I mean

‘Soilworkers Song Of The Damned’, c’mon Soilwork have always been known for their that’s a killer composition, as are ‘Follow The big, almost pop-like choruses and if I’m Hollow’ and ‘Black Star Deceiver’. However, honest, this is one of the big attractions for me; the decision just got harder in 2015 thanks to Soilwork know how to get their tunes lodged in ‘The Ride Majestic’ which is unquestionably a the heads of their fans that’s for sure. On ‘The special album with magic coursing through its Ride Majestic’, it feels like this aspect of the veins. 14 band’s sound has been taken to a whole new with ease and aplomb into my top 30 of 2015. level though, as there are catchy melodies * and hooks all over the place. ‘Death In General’ benefits from a chorus number 11 that’s more immediate than a slap around the Subsignal face whilst ‘Petrichor By Sulphur’ delights thanks to a pre-chorus and chorus that keeps ‘The Beacons Of Somewhere Sometime’ giving whilst injecting a touch of melodic hard ZYX/Golden Core Records rock into the track. And then there’s ‘Enemies In Fidelity’ which features some of the most * spine-tingling vocal work ever committed to I begin this post with a caveat: the only disc by Strid. I’m not joking either, trust me. reason why this album is outside the top 10, albeit by just one place is because it was All that being said, don’t for one minute think released so late in the year. Career pressures, that Soilwork have gone soft, because they the stresses of moving house and two small certainly haven’t. Indeed, their more extreme children meant that I simply haven’t had metal tendencies remain present and correct. enough time to fully digest ‘The Beacons Of Even within the more catchy numbers there Somewhere Sometime’, the xth album from are plenty of heavy, sharp riffs as well as blast German melodic progressive rock/metal beats and fast aggressive tempos – band Subsignal. Indeed, it is entirely possible everything that the average metalhead will that when the dust settles in a few months, I lap up. And then, just for good measure, there will look back at this placement and call are the altogether more feisty and less myself a few silly names and will wish it melodic numbers, including ‘Alight In The featured higher up the list. However, as this is Aftermath’ which is a harder, more savage an end-of-year round-up, I have to be honest beast than the aforementioned, as is and allow my integrity to take precedence. ‘Phantom’ which dials up the black metal So, number 11 it is. influences thanks to the caustic and raw feel to the staccato riffing.

And I cannot leave this album without mentioning the closing track, ‘Father And Son Watching The World Go Down’. Not only does it contain some of the most infectious melodies, it is an epic track that also dabbles with doom metal to great effect. It’s a stunning song.

I remain just a little unsure, even after several month of listening but I’m still mulling over the I make no secret of the fact that I adore conundrum of whether ‘The Ride Majestic’ is Subsignal. In fact, I adored Sieges Even, the Soilwork’s best work to date. The fact that I more progressive and technical predecessor am still considering it must mean that it pushes to Subsignal. Began as a project, it became ‘Natural Born Chaos’ very close. And it’s for clear to founding members, Messrs Markus this reason that ‘The Ride Majestic’ swaggers Steffen (guitars) and Arno Menses (vocals) 15 that Subsignal deserved more than just ‘part- emotive vocals are all over this thing, as are time project’ status and the band quickly the clean and phrases and became the full-time focus. embellishments that lend the compositions their subtle and majestic beauty. Everything is n terms of sheer sophistication and elegance, performed with care, precision and with a there are few acts that can match Subsignal sense of real feeling. Piano, saxophone and and ‘The Beacons Of Somewhere Sometime’ other interesting synth effects also make an simply underlines this statement. If you’re after appearance to nice effect, enhancing the progressive music that is technical and overall experience. expertly crafted but with an emphasis on strong compositions and plenty of melody, Almost all of the eleven tracks are worthy of then Subsignal are the band for you. It still an individual mention. However, personal baffles me how this band does not command favourites include ‘And The Rain Will Wash It a bigger following; this is now the xth album of All Away’, ‘A Myth Written On Water’ and the highest quality and yet I hear very few ‘Everything Is Lost’, all of which take very little people mention this band. It’s a crying shame time in infiltrating the subconscious and but hopefully the breakthrough is not too far leaving a huge indelible mark on the listener. away – these guys deserve it. In particular, the balladic ‘A Myth Written On Water’ is so brilliant that it is quite possibly one The thing that strikes me hardest about ‘The of the very best tracks of the year. Beacons…’ compared with previous releases is the increased heaviness this time around. As I said before, I can’t understand why Don’t panic, Subsignal have not morphed into Subsignal are not more widely known and a death metal band or anything, it is just that loved. Put simply, they are very definitely one some of the riffs are surprisingly heavy both in of the best bands currently in the progressive tone and delivery, whilst there’s more than a . As such, even if you only have a little aggressive drumming within some of the passing interest in this genre, you need to tracks that also raises an eyebrow. After the make it a priority to check out Subsignal. I’d quiet and soothing instrumental intro, we’re hit be surprised if anyone finds it to be a waste of with the duo of ‘Tempest’ and ‘A Time Out Of time. Joint’, both of which contain sections that feel * heavier than anything that has gone before. Read the blog by The Man of Much Metal They still contain plenty of melody and accessibility mind you, but the added aggression is difficult to ignore. Then there’s the thrash undertones of the riffs within ‘Everything Is Lost’. Personally, I find the extra power and grunt refreshing for a prog band and fully welcome this approach.

That aside, Subsignal are one of those ever- rarer bands that has a unique identity – within moments of the album commencing and then throughout, there’s never any doubt that www.manofmuchmetal.wordpress.com this is a Subsignal record. Menses’ rich and 16

February 6 at Tacoma Dome - concert calendar February 19 Fleshed Apocalypse at Studio Seven - Seattle, WA Seattle region concert calendar by Metal February 20 Skelator at Funhouse - Seattle, WA Bulletin Zine (Washington state). If you know of February 21 Coffins at Highline in Seattle other metal concerts in the area, please get February 23 Cradle of Filth at The Showbox - in contact with Metal Bulletin Zine. Seattle, WA March 5 , Obituary, January 2 at Flight's Pub in Everett: Death Cryptopsy, Abysmal Dawn at El Corazón - Metal from San Juan Puerto Rico ZAFAKON, Seattle, WA - CALAMITY, W/ Local Talent, Kill Closet March 6 Helloween at The Showbox March 7 Delain, Sonata Arctica, Nightwish at Showbox SoDo March 19 , Testament, Carcass at Paramount Theater - Seattle March 24 Y & T at Studio Seven Seattle April 1 Decibel Magazinel Tour ABBATH, High On Fire, Tribulation, Skeletonwitch at El Corazon - Seattle, WA Zafakon April 11 Iron Maiden at Tacoma Dome April 23 D.R.I. at El Corazón May 1 Napalm Death at The Showbox - Seattle, WA May 08 Primal Fear, Luca Turilli's Rhapsody at El Corazon - Seattle, WA — metal programs (these are Pacific Times) Mosh Pit (Madison, WI): Monday night 9:30pm- 12am WORT 89.9 fm www.wortfm.org

Calamity Sweet Nightmares (Houston, TX): Thursday night 9pm-12am KPFT 90.1 fm www.kpft.org

Excuse All the Blood (Olympia, WA): Friday night 11pm-1am www.kaosradio.org

Kill Closet Metal Shop (Seattle, WA): Saturday 11pm- 3am KISW 99.9fm www.kisw.com January 17 Venom, Inc., Necrophagia at — Neumos This zine is available at: January 30 Nile at El Corazón www.issuu.com/metalbulletinzine January 31 at Studio Seven: , Enforcer, Exmortus, Cauldron, Oxygen Destroyer

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