Festival Preview: Brutal Assault 2016


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Tomorrow kicks off the 21st Brutal Assault Festival with Parkway Drive, Neurosis, Arch Enemy, Behemoth, Mastodon, Abbath, Devildriver, Exodus, Ministry, Nile, Obituary, Satyricon, Ihsahn, Dark Tranquility, Dying Fetus, Unearth, Conan, Voivod, Taake, Septic Flesh, Insomnium, Stuck Mojo, and Mono among others. Making the festival unique compared with other events are the art exhibition, horrror film festival, revolutionary Cashless/Access card system, and other features that have always made Brutal Asault the leaders in the festival going experience. Previously announced bands Electric Wizard (visas) and Terror (surgery for Scott Vogel) have cancelled and replaced with Uffommamut and Raised fist respectively.

BRENT HINDS of MASTODON

Mastodon, by Echoes In The Well Photography

Wednesday kicks off with bands like Abbath, Mastodon, Neurosis, Devildriver, Mutooid Man, Chelsea Wolfe, Tribulation, Conan, Vektor, Gruesome, Shining and more.

 

Gojira, Photo by Hillarie Jason

Thursday features Parkway Drive, Gojira, Ministry, Exodus, Ihsahn, Dark Tranquility, The Black Dahlia Murder, H20, Animals As Leaders, Immolation, Aborted, TesseracT, Obscura, and more.

Friday has Arch Enemy, Moonspell, Taake, Satyricon, Cattle Decapitation, Sigh, Coroner, Obituary, eptic Flesh, Voivod, Raised Fist, iron Reagan, In The Woods and others.

 

Arch Enemy, by Meg Loyal Photography

Arch Enemy, by Meg Loyal Photography

Saturday closes things out with headliners Behemoth, Agnostic Front, Insomnium, Moonsorrow, Destruction, MGLA, Venom INC, Archgoat, Stuck Mojo, Holy Moses, Stick To Your Guns, Lightening Bolt and more. Tickets are still avaialble at this link:

Behemoth, by Susanne A. Maathuis Photography

Behemoth, by Susanne A. Maathuis Photography


Mastodon, Ministry, Parkway Drive, Behemoth And More Booked For Brutal Assult 2016


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Long-running and legendary Brutal Assault Festival takes place again this year for their 21st edition. Taking place which takes place in a military fortress Jofesov in Jaromer, in the Chech Republic the four day festival runs from August 10-13th. In addition to headline acts Mastodon, Ministry, Parkway Drive, and Behemoth, the fest features names from across all genres of rock and metal such as Aborted, Agnostic Front, Angelcorpse, Animals As Leaders, The Algorithm, Archgoat, Birdflesh, Bury Tomorrow, Conan, Coroner, Dark Funeral, Dark Tranquility, Devildriver, Die Krupps, Disavowed, Destruction, Electric Wizard, Eskimo Callboy, Exodus, Eyehategod, Gruesome, Hypnose, Immolation, Insomnium, Iron Reagan, Jig-Ai, Knuckledust, Leprous, Mgla, Misery Loves Co., Mithras, Moonspell, Mono, Mutoid Man, Nile, Obituary, Omnium, Gatherum, Satyricon, Septicflesh, Shining, Sigh, Sikth, Slagmaur, Taake, Terror, Textures, The Black Dahlia Murder, Tribulation, Vektor, Valkyrja, Voivod, Whiplash and more. Tickets are on sale now with camping packages at this link:

 


Inferno Festival 2016: Part 2: Various Venues – Oslo, NO


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Part II

Saturday

Blood Red Throne have been around for some time now, and with Yngve “Bolt” Christiansen they found a vocalist able to bring something more to their shows, as he is able to communicate with the audience in a way that seems sincere and engaging. With a set list comprised of something like fifty percent classics from Altered Genesis, their most celebrated album, the band lay Rockefeller in ruins. Bolt circlebanging, puking, then continuing to circlebang. Not to mention guitarist Ivan Gujic trashing his guitar at the end of the show, then proceeding to down half a bottle of tequila. It seemed like the pep talk backstage had been had. This said, the band could have added some more visual aspects to their show, but as an opening act one couldn’t really expect much more than a backdrop.

Suffocation are veterans by now, and a band that always delivers. However, it’s somewhat disappointing to catch them with only two members from the core lineup, instead bringing replacement musicians for guitarist Guy Marchais and vocalist Frank Mullen. But then again, the stand-ins did a really good job, and we got all the classics like ‘Breeding The Spawn’, ‘Catatonia’, ‘Funeral Inception’, ‘Liege Of Inveracity’, ‘Abomination Reborn’, ‘Pierced from Within’, ‘Effigy Of The Forgotten’, ‘Thrones Of Blood’ and ‘Bind Torture Kill’. It was all delivered with conviction and by a Derek Boyer with his bass literally standing upright on the floor at times, and a Terrance Hobbes looking as he was having the time of his life playing the same songs yet again. Suffocation is indeed always a safe bet, and also grand masters of the brutal death metal genre, even when they are playing far from their own New York scene.

Last band of the night were none other than the proud Egyptophile Americans in Nile. They are usually worth catching for George Kollias jaw-drop inducing drumming on its own. Throw in the fact that they have a solid discography of brutal and truly quality death metal by now, and you can maybe forgive them the fact that they don’t offer especially much in terms of the visual part of the show except their backdrop. But when a band churns out great renditions of ‘Lashed To The Slavestick’, ‘Sacrifice Unto Sebek’, ‘Kafir!’, and’ Sarcophagus’, most are willing to ignore the lack of visual pleasing stimuli – ignoring washed out t-shirts and shorts.

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World record holder in leather, spikes, and mullets, Nifelheim, proved themselves once again worthy of being THE black thrash export number one of Sweden. Lead into battle by The hard rock brothers, twins Tyrant on bass and Hellbutcher on vocals, they held Inferno captive for ten songs, including the massively enjoyable ‘Storm of the Reaper’. They proved once again that to get far all you need is some good tunes and the proper attitude.

Craft was the last band out on the John Dee stage, and saw the venue filled up with people eagerly anticipating an onslaught of Swedish black metal. And they got what they wanted, although I must admit, after seeing Craft twice now, that they sound better on record than live. They also look a bit disorganized in their appearance, as if the band members don’t have that extra cohesive interpersonal dynamic going that makes a band stand out. At the very end drummer Uruz announced that he would be leaving the band, and introduced what might be his successor, Trish Kolstad, a local Oslo-based drummer, also recently making an appearance with Gehenna. She joined the band on stage for their last song, ‘I Want To Commit Murder’.

 

 

A surprise was had with the Finnish legion of Moonsorrow, whose albums I must say I have passed by pretty much in silence and disinterest, seeing as most folk oriented black metal is rather bland, and usually far too jolly, and fits better with the typical German festival goer who enjoys drawing a dick on their forehead and wear viking helmets – the ones with historically incorrect horns stuck to them. But I stand corrected. Moonsorrow was fully enjoyable, and far darker and balanced than I remembered from earlier. If not a band with a great show to coincide with their music, they at least pulled off the musical part with excellence.

 

Mayhem. I have caught them a million times by now, and there’s always an element of surprise to their performances. If not in terms of theatrics, then in terms of songs selected, or even how the band has seemed to vary immensely in how well they perform the material. This time around the band not only put on a great show, had good sound, but also played some songs they haven’t played in a while. In addition they had both former vocalist Maniac on stage, as well as Attila, and Messiah, all doing vocals on selected songs from their own eras and albums with the band. First appearing was Maniac doing five songs from 2000’s Grand Declaration Of War. Then Attila did ‘De Mysteriis Dom Sathanas’, ‘Life Eternal’, ‘Freezing Moon’ and ‘Illuminate Eliminate’, before Maniac was back on for songs from Deathcrush, which also saw the return of Messiah with the band, probably a byproduct of him appearing earlier on the very same stage with Order. The same band whose drummer Manheim also joined Mayhem on one of the songs he played with them on the Deathcrush EP back in 1987. Basically all in attendance were guided through the bands entire history, pigs’ heads thrown into the audience and all. Wholesome family Easter fun and games in other words. Most definitely a headliner worthy of ending this year’s Inferno festival. The entire Mayhem show is actually on YouTube now  it seems, so you know what to do!

INFERNO FESTIVAL 2016 Part 1

WORDS BY PÅL TEIGLAND LYSTRUP AND JULIA TUOMINEN

 

 


Festival Preview: Inferno Metal Festival 2016


 

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Raise the horns! Inferno Festival hits Norway this week and for year 16 there is no sign of slowing down. A total of 42 bands, 25 from outside of Norway! From traditional black metal, to thrash, to tech death and more, many a fans music tastes will be delighted by Inferno! Headliners like Mayhem, Marduk, Mysticum, Exodus, Sodom Suffocation, Vader, Nile and Gorguts make this sure to be one of the best the fests history. For the third year in a row, Ghost Cult will be there to cover it!

 

Today kicks off with the club day featuring bands like headliner and thrash legends Exodus. They wil be joined by Gorguts, Psycroptic, Sahg, Vreidhammer, Mistur, 3rd Attempt, Dødsfall, and more.

 

Thursday night brings the major night of the fest with Marduk, Cattle Decapitation, Mysticum, Vader, ICS Vortex, and Shores of Null to name a few of major heavy hitters.

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Friday might be the most well-rounded day of Inferno. Two death metal legends in Nile and Suffocation, thrash kings Sodom, Blood Red Throne, the epic Craft, Wormlust, The Crawling and more.

 

Just in time for Easter Sunday, Saturday night will close out the fest with Mayhem, Moonsorrow, Nifelheim, Månegarm , Order, and Nordjevel . As always there are vendors, a music conference, other kinds of entertainment and beer!

 

Tickets are still available, details below:

4 days festival pass (including club night): SOLD OUT!

3 days festival pass (without club night): 1500,- NOK. (including ticket fee)

http://www.billettservice.no/event/inferno-metal-festival-3-dagerspass-billetter/468605

Club day pass (only wednesday): 460,- NOK. (including ticket fee)

http://www.billettservice.no/event/inferno-metal-festival-klubbdag-billetter/474805

Thursday pass (Marduk, Vader, ICS Vortex) 600,- NOK. (including ticket fee)

http://www.billettservice.no/event/482975

Friday pass (Nile, Sodom, Blood Red Throne) 600,- NOK. (including ticket fee)

http://www.billettservice.no/event/482977

Saturday pass (Mayhem, Nifelheim, Order) 600,- NOK. (including ticket fee)

http://www.billettservice.no/event/482979

Tickets available at Billettservice (http://www.billettservice.no/). Phone: +47 81533133

http://www.infernofestival.net / http://www.facebook.com/InfernoMetalFestival

INFERNO HOTEL

http://www.infernofestival.net/hotelbooking

Single room: 725,00 NOK

Double room:

1 person: 999,00 NOK

2 persons: 999,00 NOK (499,50 per pers)

Superior room:

1 person: 1.180,00 NOK

2 persons: 1.280,00 NOK (640,00 per pers)

3 persons: 1.530,00 NOK (510,00 per pers)

Deluxe room:

1 person:1.280,00 NOK

2 persons: 1.380,00 NOK (690,00 per pers)

3 persons: 1.630,00 NOK (543,00 per pers)

Business Suite:

1 person: 1.480,00 NOK

2 persons: 1.680,00 NOK (840,00 per pers)

3 persons: 1.930,00 NOK (643,00 per pers)

4 persons: 2.180,00 NOK (545,00 per pers)

Executive Suite

1 person: 1980 NOK

2 persons: 2180 NOK (1090 per pers)

3 persons: 2430 NOK (810 per pers)

4 persons: 2680 NOK (670 per pers)

E-mail: inferno.christiania@choice.no

http://www.clarionroyalchristiania.no

Inferno Festival online

Inferno Festival on Facebook

 


Guest Post: Atli Jarl Martin – Top Ten Albums Of 2015


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As we dash towards the holidays and the end of the year Ghost Cult is feeling good about this season of giving. So we are giving our fans a chance to get to know our partners, peers, and friends  from bands in the world of music. They will chime in with some guest blogs, end of year lists, and whatever else is on their minds as we pull the plug on 2015. Today we have Atli Jarl Martin, promoter and digital go to guy for Eistnaflug Festival, who happily lives with his 19 computers and has a huge affection for his ThinkPads, shared his list of favorite releases of this year with us.

It’s been a strange year for me personally and a bit hard to keep up with as many releases I’ve done in recent years, Nevertheless I managed to build a list of some 70 releases which I have now filtered down to my final Top 10, whereas the top 5 releases could have all ended up in my top slot. I guess that most releases that made the cut won’t come as a surprise to anyone that knows me, but I hope that there are at least a couple that you haven’t listened to yet, and might give it a spin. 2016 is looking tremendously exciting already, first and foremost with the release of Rotting Christ’s new album Rituals early in the year. But for 2015, here goes…

 

1. Thy CatafalqueSgúrr (Season Of Mist)

Thy Catafalque sgurr album cover 2015

Definitely the most delightful surprise of 2015. Following the incredible 2011 album Rengeteg, I became a huge fan of the talent and musicianship of Tamás Kátai, as this is a one-man project, and his vast and diverse musical wizardry is way above and beyond what most other musicians present. The musical direction Tamás takes on Sgúrr is hugely different than what is presented on Rengeteg and the earlier albums, one might say colder, bleaker and harsher, where ‘f.e. Jura’, a straight forward blisteringly fast black metal track made my jaw drop, as it was wholly unexpected. I can really say the same about pretty much every track on the album, which is a phenomenal roller coaster ride through amazing variety of styles and sounds. Just listen to ‘Oldódó Formák a Halál Titokzatos Birodalmáb’, a 15:21 minute ride through a sublime variety of styles and a showcase track on just how multi-talented Tamás Kátai is. A beautiful work of art.

 

2. Lost SoulAtlantis: The New Beginning (Apostasy Records)

Lost Soul Atlantis

Yes, they fucking did it again. These Polish wizards, led by mainman Jacek Grecki, pretty much blew everyone’s mind back in 2009 with their absolutely phenomenal Immerse In Infinity album, which shared the top-slot on my list back then with my favorite, and ever so lovable Finns in Amorphis (more on them later). Lost Soul are finally back after 6 long years, but the wait was so worth it. Atlantis is every bit as fast and brutal, yet Grecki and his merry men have managed to push their music further into the technical and progressive realms, bringing you one, if not THE pinnacle of technical death metal offerings of all-times. Listening to this album leaves me dumb-struck with awe, every-single-time, such is the wizardry performed here. Perfection!

 

3. MelecheshEnki (Nuclear Blast)

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5 years after the release of the fantastic The Epigenesis album, and after a plethora of lineup changes, Melechesh return with Enki, yet another masterpiece of an album. Uncompromising as always, adhering to their sublime Middle Eastern music influenced extreme metal concoction, Melechesh apparently can do no wrong. While The Epigenesis took a tad more progressive turn, with sublimely heavy and thundering songs, Enki returns back to the faster, more intense songwriting as presented on their earlier albums, such as Emissaries and Sphynx. I was fortunate enough to finally see the band on stage last May, and the experience was mind-blowing. Among the best musical entities on the planet. Period.

 

4. AmorphisUnder the Red Cloud (Nuclear Blast)

Amorphis, by Hillarie Jason

Amorphis, by Hillarie Jason

As a very, very long time fan of the band, their current lineup, starting with their absolute best album, Eclipse (2006), almost every album since has been a tour-de-force, showcasing the enormous capacity of the bands collective skills in songwriting and musicianship, as well as being one of the hardest working bands out there, as this is their 6th full-length album in only 9 years. Under the Red Cloud very much takes up the thread from the stellar 2013 album, Circle, but the band is in absolute top-form here, as every song on the album is outstanding. Songs like ‘The Four Wise Ones’, ‘Bad Blood’, ‘Dark Path’, and the phenomenal ‘Tree of Ages’, have made the album my most heavily rotated album from the band since 2006, and there is no letting up on how often I spin it. Masterpiece.

 

5. ClutchPsychic Warfare (Weathermaker Music)

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

Yes indeed, here‘s another super-hard working band which has been dishing out release after release of superior quality since, well, forever. Their 2004 album Blast Tyrant is perhaps my favorite rock album of all-time, and their subsequent albums, albeit all having different qualities, none really came close to it in overall groove and fierceness, until now. Psychic Warfare absolutely hits every mark of excellence that Blast Tyrant presented. Every song is superb, the lyrics are fantastic, and the whole album pops and clicks on every beat, every groove, and infuses that good old feeling of strapping on an air-guitar and do a bit of headbanging while singing along to Neil Fallon’s often hysterically funny rants and phrases. As I write this, there are only 2 days until I see the band onstage for the first time, and the anticipation for seeing the tracks from this album presented is making me all giddy. Woohoo!

 

6. Keep of KalessinEpistemology (Indie Recordings)

https://www.youtube.com/watch?v=MRXEvGinsqE

 

This is an album I actually had high expectations for, specially after hearing the 2013 EP Introspection, which was the first release from the band following Arnt “Obsidian C.” Grønbech taking over the vocal duties after Thebon‘s departure earlier that year. Their first full-length album in 5 years, I was supremely happy to hear that Keep of Kalessin is very much up to the task as a three-piece outfit, and musically, the album is a healthy blend of the more commercial aspect of 2009‘s Reptilian and the earlier fierce and blazingly fast Armada (2006) and Kolossus (2008). Stand-out tracks and passages on the album are many, but the pinnacle is most certainly ‘The Grand Design’, a track that easily rivals the best of their earlier works, and was absolutely amazing to witness on stage. The band is in top-form at the moment and I can‘t wait for the successor, just hope that I won‘t have to wait 5 years for it.

 

7. George KolliasInvictus (Season of Mist)

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This master of extreme metal drumming certainly has had a busy schedule in recent years, touring and playing with Nile, as well as releasing drum lesson videos and attending drum clinics, but there were a couple of his own songs available on YouTube, rough mixed and non-vocal demos. Very cool stuff, but nothing that really prepared me for the delicious death metal assault he put together on this first solo album of his. It is a showcase of enormous death metal talent, as Kollias plays every instrument on the album, as well as performing vocals, but the album also features guest performances from many prominent musicians, such as Karl Sanders and Dallas Toler-Wade (Nile), George Emmanuel (Rotting Christ) and Efthimis Karadimas (Nightfall), to name but a few. Overall a fantastic death metal trip, modern in technicality, speed, sound and feel, blended with a healthy dose of some old school riffing, but what really amazed me the most is Kollias‘ vocal performance, which ranks among the best I‘ve heard in a long time. Highly recommended.

 

8. HateCrvsade: Zero (Napalm Records)

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Being a very early release this year, as it came out in late January, this album has had way more spins than many other albums on my list, but it is definitely to its credit that it ends up on my Top 10 list, as the re-playability of the album is phenomenal. Mainman Adam “ATF Sinner” Buszko and his band mates strengthen the already very impressive legacy of the band and their highly energetic style of death metal getting stronger with each subsequent album. One of my favorite bands for sure.

 

9. NileWhat Should Not Be Unearthed (Nuclear Blast)

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Another album I had really high expectations for in 2015, and they were not betrayed. Nile have been on a remarkably consistent roll since the release of Those Whom The Gods Detest in 2009, followed by At the Gate of Sethu (2012) which has since then bulldozed its way to being my second all-time favorite album by the band. The band pulls no left hooks here, plowing onwards and upwards with their instantly recognizable brand of death metal mastery. Super-heavy, blazing fast and tremendously well executed, track after track just thunders through and the confidence and coherence displayed by the band is absolutely why they are one of the biggest extreme metal acts in the world today.

 

10. Malevolent CreationDead Man‘s Path (Century Media)

Aaaah, like a warm blanket, listening to a new Malevolent Creation, one of my all-time favorite bands, is always a very pleasant experience. I’ve been following these old masters almost since the beginning of their career, and despite the very turbulent history of band members, they always manage to land on their feet, providing me with that deliciously violent old-school death metal that I love so much. Dead Man‘s Path is pure Malevolence, and the band and the music sound better than they have done since the magnificent Envenomed came out in 2000. No-one can destroy this Malevolent Creation.


Ghost Cult Album Of The Year 2015 – Countdown: 30 – 21


 

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Part three of the Ghost Cult Magazine countdown to our Album of 2015. 

And now the end is near, and so we face 2015’s final curtain, and once more the Ghost Cult army got together to vote for their favourites. The results? Over 20 writers pitched and voted on over 220 albums ranging from indie pop to the most horrific savage tentacle laden death metal showing the depth, breadth and class of the official Ghost Cult Album of the Year for 2015.

The countdown (to extinction) continues…

 

Tribulation30. Tribulation – ‘The Children Of The Night’ (Century Media)

The Children of the Night, save for snarled vocals and horror themed lyrics, is a classic heavy metal record, far more interested in melody and catchy songs than aggression and violence; a brave record from an exceedingly talented set of musicians who are just that more subtle when it comes to what style of darkness works best.”

Review by James Conway here

 

Windhand29. Windhand – ‘Grief’s Infernal Flower’ (Relapse)

“…something has happened here; an unsettling event or rite of passage, propelling this captivating outfit to the stars without drastically changing their identity. In doing so it has enabled the band to create its most sombre, hypnotic, emotive and supreme piece of work.”

Review by Paul Quinn here

 

sw28. Steven Wilson – ‘Hand. Cannot. Erase’ (KScope)

“Where The Raven… was mysterious and downright grave emotionally, the new album is poignant and uplifting almost all the way through. Even in somber moments, the songs have an underlying feeling of hopefulness that defies the melancholy. Wilson is a master delivering the unbridled beast of a song in a beautiful package.”

Review by Keith Chachkes here

 

maruta27. Maruta – ‘Remain Dystopian’ (Relapse)

“Seething with a fulminating ire, yet showing unexpected versatility; if you’re pissed off with parents and / or bullies, but don’t want an ignominious revenge to stick you on the front pages, exercise your frustration with these guys instead.”

Review by Paul Quinn here

 

drudkh26. Drudkh – ‘A Furrow Cut Short’ (Season of Mist)

“Like all great Drudkh releases, this is an album that reveals more with every listen, a rousing yell of defiance backed by a passionate beating heart. Tenth full-length release A Furrow Cut Short is one of their finest efforts to date.”

Review by James Conway here

 

hoac25. Heart of a Coward – ‘Deliverance’ (Century Media)

“Writing this review is a bit like trying to make conversation with a devastatingly attractive woman – all I could initially think of to write about each song was “Fucking Brilliant”. In summary, Deliverance is a stunning piece of work that can only be criticised for coming to an end. More of this please lads.”

Review by Philip Page here

 

nile24. Nile – ‘What Should Not Be Unearthed’ (Nuclear Blast)

“Death jams like ‘In the Name of Amun’ and ‘Age of Famine’ give way to breadth and dizzying tempo changes, the kind of searing death metal that recalls prime Morbid AngelIf the prog fans and metal elitists can get past the death grunts and learn to love the blast beat they may just find a band fawn over other than Dream Theater.”

Review by Hansel Lopez here

 

deafheaven23. Deafheaven – ‘New Bermuda’ (Anti Records)

“A sprawling mini-opus, one that tells us much of where this band can really go musically  in the future. While not as groundbreaking or original as Sunbather, which any band would be challenged to follow, New Bermuda hits you in all the right G-spots musically and emotionally for one of 2015’s undoubtedly finest releases.”

Review by Keith Chachkes here

 

mgla22. mgla – ‘Exercises In Futility’ (Northern Heritage)

“Despite the overwhelming misanthropy that is conveyed, the seamless flow and rousing melodies are emotive and enriching. It’s an album crafted with passion and dedication, which is overtly evident in their music. Mgła have honed a pioneering sound that is now getting the recognition it so very much deserves.”

Review by Heather Blewett here

 

highonfire21. High On Fire – ‘Luminiferous’ (eOne)

Ghost Cult Album of the Month – June “The boys have put out one monster of a record. Don’t drink the Kool-Aid, get yourself a gallon of Pike Juice instead and keep an eye out for an upcoming tour date near you.”

Review by Aleida la Llave here

PART 1: ALBUMS 50-41

PART 2: ALBUMS 40-31

 

 


Nile – What Should Not Be Unearthed


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It’s a bit hard to fathom that Nile guitarist and mastermind Karl Sanders is still creating some of the unholy sounds in extreme metal at the age of 52. Other musicians at that age are releasing Lou Reed collaborations that only serve to undermine their legacies. Not Nile.

The Nile modus operandi on eighth studio album What Should Not Be Unearthed (Nuclear Blast) remains the same. Healthy doses of Egyptian mysticism and history (sample: “We must cut off the head of the Spinx. Timeless guardian of the ancient pharaohs”) with the occasional dash of Lovecraftian imagery set to the kind of searing death metal that recalls prime Morbid Angel. Maybe that’s why I have such an affinity for Sanders and his art, he was there to pick up the pieces when Morbid Angel was losing creative steam being dogged down by unsuccessful experimentation.

Experimentation is kept a very base minimum here as the album opens to aural punishment that is ‘Call to Destruction.’ We are then hit with the swift hyperblast one-two of ‘Negating the Abominable Coils of Apep’ and ‘Liber Stellae – Rubaeae.’ This is the kind of fiery death metal that hurts so good like Dying Fetus or early Gorguts. Also for the real tech heavy crowd check the finger cramping opening riff in ‘Evil To Cast Out Evil.’

But it’s not all fire and brimstone as death jams like ‘In the Name of Amun’ and ‘Age of Famine’ give way to breadth and dizzying tempo changes. Title track ‘What Should Not Be Unearthed’ also follows this pattern and allows for a real nice low and slow breakdown. And even when operating at a more gradual cadence, human drum machine George Kolias makes sure to load up the double-bass pummel.

In a genre where many of their peers are still spewing out murder fantasies and are fascinated with the undead, Nile stands out with a mix of intellectual lyrics and musical proficiency. If the prog fans and metal elitists can get past the death grunts and learn to love the blast beat they may just find a band fawn over other than Dream Theater.

9.0/10

HANSEL LOPEZ


The Anti-Technician – Karl Sanders of Nile


Karl Sanders of Nile. Photo by Hannah Verbeuren

“I’ve really become sick to death of where some bands have taken this idea of Technical Death Metal. What Should Not Be Unearthed (Nuclear Blast) is what I’ve been referring to as an “anti-technique” album. We are playing what’s generally called Technical Death Metal, but I see people playing songs that are composed of fast arpeggios, and tapping, and just a barrage of insane riffs that are all awesome, don’t get me wrong, but I walk away from it going ‘That was fucking awesome but I can’t remember a goddamn thing I just listened to’.”

Karl Sanders of Nileis right. The death of the song, particularly in extreme metal, is a personal bugbear, as what made classic Death Metal great was that despite the raging, despite the brutality and extremity and full on technical ability of a lot of the greats of the genre, Death Metal used to be about songs. Many bands now are so concerned with showing off their flawless technique they’ve forgotten about “the song”. It’s a concept I remember speaking to Trey Azagthoth (a long-time friend of Sanders) back on the Formulas Fatal To The Flesh (Earache) tour, that technique is there to help you achieve the soundscapes and ideas in your head, but it should never be about how quick your fingers can flurry up and down the fretboard, how fucked-up a jazzy passage can be; unless it benefits the song, what is the point…?

“This album is anti-technique. I said to myself when I was writing “I’m not going to give a fuck whether this riff is hard to play, or whether it’s tricky or whether it’s simple or whatever the fuck it is, it doesn’t fucking matter. What matters is that it’s heavy, and I fucking like it. It might be a simple riff. It might mean it’s a tough riff. But the idea is the song is of paramount importance, and the riff is just a means to frigging get there.

“It’s automatically assumed, like a given in geometry – whenever you do a geometric equation, you start with a set of givens, they give you that, it’s bang, you gotta start there – being able to play your guitar is a given in technical metal; if you can’t play, you don’t get to walk through the door.

“So, this idea of anti-technique was mentally very liberating, it helped us to think “Let’s just write songs that fans will fucking appreciate, and we’ll have fun playing” and that’s the only concern we will go by.”

The Morbid Angel’s, the Death’s, even the Cannibal Corpse’s of this world possess or possessed some incredible musicians, but they all got to the status they did through writing great songs. It’s a shame that the skill seems to be getting lost in a flurry of arpeggios and syncopation.

“I don’t think it’s fair to the people listening to it. I think there’s a symbiotic, yin and yang relationship with the listener. For music to exist, someone has got to play it and someone’s got to listen to it. And if you don’t care about both sides of the equation, the shit will get out of fucking balance, and I think there’s been a lot of disrespect for listeners in recent years.”

Nile. Photo by Hannah Verbeuren.

I recently had the joy of reading and reviewing ‘Choosing Death’ by Albert Mudrian. In it he highlighted that when Nile first burst on the scene, Death Metal was flagging. He mentioned you as the leaders of the Rebirth of Death Metal, and the band that helped “save” Death Metal… Did it feel like that at the time, was it an inspiration or the metaphoric albatross?

“It’s kinda like the Life of Brian movie. Brian is not actually a messiah, but everyone just thinks he is. We were just doing what we do, and for whatever reason, the wheels of fate were spinning, we found ourselves in a position where, even though we were at a point where Death Metal had died out, we were just playing what the fuck we liked. We didn’t care if it was popular or not, and had no thought of the bigger picture, or our place in it. So, we’re like the reluctant messiah.

“It’s like we opened the door, and the room was a mess, and we found a vacuum cleaner in our hands.” 

Perhaps coming to the scene a bit later in life than some of their contemporaries helped to avoid producing the bloated, boring Death Metal of the late 90’s. Though Sanders was around, and knew many of the original greats, it wasn’t until a near decade after the birth of Death Metal that Nile became a serious entity…

“I think when you’ve lived a little bit of life, you look at things differently and see more. I’d seen enough of my comrades fall by the wayside. The road to your band getting somewhere is literally littered on each side with the wreckage of those who have gone before and failed. It’s easy to see other people failing, so by the time it was our turn, we could see enough to scare us into staying on the road.” 

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Death Metal, with reluctant saviours Nile a key part of its’ resurrection, is now as popular as it has ever been, particularly in terms of live tickets, and festivals often see acts like Carcass and At The Gates high up  the bills. Yet where does Sanders see Nile? Are they one of the “historic” acts; a “classic” Death Metal band, or a current band?

“We see ourselves as still working hard to bring our music to the people, with still a lot of work to be done and places to go and still lots of things we want to achieve as a band. We had a very similar discussion the other day at a band meeting and it was decided we were going to play 6 songs from the new record. Maybe bands of our age, we’ve got 20 plus years as Nile, wouldn’t be saying that, they’d be saying which one or two songs of this new record should we play as we have to play all this old stuff.

“There are elements of our audience that will get angry if they don’t hear “that song”, and we respect that, and we realize that and do care about it, but we also care about staying vital and pushing forward. 

“In life you have to walk with confidence, because how you present yourself is how people perceive you. So, if you want people to think your album sucks, don’t play it!”

 

What Should Not Be Unearthed by Nile is released on 28 August via Nuclear Blast and can be ordered here.

STEVE TOVEY


Not Unearthed – Karl Sanders of Nile


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“It’s a weird sensation that I’m not completely stressed and fed up and ready to kill people!” declares a chirpy and distinctly non-murderous Karl Sanders as he prepares for the unleashing of the eighth Nile opus magnificus, What Should Not Be Unearthed (Nuclear Blast).

The album recording process affects different musicians in all manner of ways, from the studio genius whose improvisation and spur of the moment innovation leads to artistic magic, to those who feel swallowed by the pressure of self-doubts, of knowing they are committing something to a permanent statement; recording is a process that can reduce even the most hardened of souls to intense frustration, self-doubt and, perhaps, genocidal responses.

“I feel much less insane this time around” continues Sanders. “Our producer Neil (Kernon) is a Londoner, but he’s a Nazi at heart! He has this belief that if you press people you can push them to discover new found creative levels of energy, but this time around it was really chilled. He wasn’t down here with us in South Carolina, he stayed in Chicago and we were uploading files to him and it was a very relaxed process. There were no levels of insanity.”

To what level of “prepared” does one of the premier technical Death Metal bands out there get to prior to hitting record?

“Generally we try to work everything out in pre-production, and then work on it in rehearsal. But it always happens that, as we’re actually recording it, the song continues to evolve, because when you hear it back in its more finished form you can get a different perspective on it. 

“It’s certainly a lower stress level (recording digitally) because you can go back as many times as you need until you like it. Back in the old days you had to fucking play it.

“Conversely, I recently, last couple of years, have really become fond of music made before the computer age, like Al Green or Earth Wind and Fire; amazing bands that had to lay it down right there, together. You had to get your shit together then. It was an entirely higher level of preparation and consistency that you had to deliver.” 

With the very precise, technical playing, with lots of picking, a flurry of finger movements within every set of bars, there has to be less freedom in what you’re all playing; it has to have that military precision to sound right. “You’re absolutely right, my friend. There does seem to be less freedom, which is sometimes frustrating, because you want to be able to hear the musical idea so you have to stay very much on course with very little freedom to improvise. I know that it drives death metal drummers crazy as they often have to be very careful about what they do and what they don’t do. It’s maddening.”

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Sanders is an engaging, erudite and a touch eccentric an individual, relaxing with a morning coffee and sitting on a severely beastly album. Despite being vaunted and hailed from their visceral debut Amongst The Catacombs of Nephren-Ka (Relapse) – which we’ll get to in part 2 of this feature –Sanders clearly cares deeply about his band maintaining and exceeding standards, and this from a band that has several genuine classics in their canon, and come into What Should Not Be Unearthed off the back of a very strong album. Most bands have a drop off after album three or four, At The Gates of Sethu came fifteen years deep…

“We’re very motivated and we’re relentless on ourselves. I gotta say, people’s perception of our level depends on who you’re asking. I would agree, the last record was super surgical, (there was) a level of clean-ness about that record here-to-for unprecedented, though Neil would call that a double redundancy, there were some people that really didn’t like that record, but that doesn’t detract from the fact we put a lot of fucking work into that fucking thing. And that’s really where our focus stays, on what we’re working on now, the rest is too much to worry about.”

Sanders has a chuckle before continuing. “You can drive yourself insane trying to worry about the permutations and consequences. Man, you just got to make music and shut up, as Frank Zappa says.” 

When Nile started, print reviews, fan letters and sales were about the only way to gauge how you were doing and what people thought of your band. Nowadays it takes seconds to Google yourself. It must be very hard not to get caught up and to get that balance right of what people want and expect, but to stay true to yourself and keep doing your thing too, and to stop what fans (or otherwise) are saying about your craft from seeping in…

“I’d say it seeps in a lot,” comes the knowing laugh. “Some of the more drastic fluctuations in my mindset and mental health over the last 2 decades are directly because of that.” Yet, as a celebrated band leader of a band with thousands of fans and supporters, why is it the negative that impacts? “It’s so easy to see the feedback and there’s a natural artistic thing where you do care what your fans have to say, you do care how they feel about what you do, it’s so natural and human.

“But it’s a multiple edged sword because there’s a madness at the end of that path, and I’ve been down it a few times and I can say it is dangerous to your wellbeing to give too much of a fuck about what other people are saying.” 

 

What Should Not Be Unearthed is out on August 28 via Nuclear Blast. To order, click here.

 

STEVE TOVEY


Nile Books 2016 Dates To Support What Should Not Be Unearthed


Nile 2016 US tour admat

Part-time Egyptologists, full-time death metal legends Nile have announced a sprawling winter time tour of the US for early next year. The 31-date tour will go from coast to coast after kicking off on January 8th in Tampa Florida, an ending with a hometown show in Greenville, SC on February 12th. Support will come on every date from locals. Nile’s new album What Should Not Be Unearthed on August 28th from Nuclear Blast.

 

 

Karl Sanders commented about the tour:

We are extremely happy to bring our new album What Should not be Unearthed to Nile fans in the states. We will of course be playing a wide variety of classic NILE tunes as well each night as we take this tour to US cities both familiar and new to us. As long time supporters of the metal underground, Nile is also happy to announce that This tour will be further blessed by having local metal bands in each city as support acts. Also noteworthy and of special meaning to the band, is the homecoming show at the close of the tour; it has been ten years since we have played in our own hometown. Join us for an extreme evening of brutal metal!”

EnterTheVault.com has the exclusive pre-sale for tickets. All tickets go on sale August 22nd.

Nile, US Tour Date, Winter 2016

Jan 08: Orpheum – Tampa, FL

Jan 09: The Haven – Orlando, FL

Jan 10: The Masquerade – Atlanta, GA

Jan 12: Expo Five – Louisville, KY

Jan 13: Soundstage – Baltimore, MD

Jan 14: The Gramercy Theatre – New York, NY

Jan 15: Trickshots – Clifton Park, NY

Jan 16: The Palladium – Worcester, MA

Jan 17: Montage Music Hall – Rochester, NY

Jan 19: Altar Bar – Pittsburgh, PA

Jan 20: Agora Ballroom – Cleveland, OH

Jan 20: Token Lounge – Westland, MI

Jan 22: Rave – Milwaukee, WI

Jan 23: The Tree– Joliet, IL

Jan 24: Triple Rock Social Club – Minnesota, MN

Jan 25: Fubar – St. Louis, MO

Jan 26: Granada – Lawrence, KS

Jan 27: Bluebird Theater – Denver, CO

Jan 29: The Eclypse – Garden City, ID

Jan 30: El Corazon – Seattle. WA

Jan 31: Hawthorne Theater – Portland, OR

Feb 01: Slim’s – San Francisco, CA

Feb 02: Whiskey a Go Go – West Hollywood, CA

Feb 03: The Grove – Anaheim, CA

Feb 04: Club Red – Tempe, AZ

Feb 05: LVCS – Las Vegas, NV

Feb 06: Tricky Falls – El Paso, TX

Feb 08: Trees – Dallas, TX

Feb 09: Red 7 – Austin, TX

Feb 10: Scout Bar – Houston, TX

Feb 12: Gottrocks – Greensville, SC

 

nile what should not be unearthed

What Should Not Be Unearthed track listing:
1. Call To Destruction
2. Negating The Abominable Coils Of Apep
3. Liber Stellae Rubeae
4. In The Name Of Amun
5. What Should Not Be Unearthed
6. Evil To Cast Out Evil
7. Age Of Famine
8. Ushabti Reanimator
9. Rape Of The Black Earth
10. To Walk Forth From Flames Unscathed

 

Pre-orders are on sale now:

nile 2015 preorder What should not be unearthed