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Metal Bulletin Zine no.217 Sept. 15, 2021 (WA state, USA) www.metalbulletin.blogspot.com FREE Crimson Fire

Feral Lord

Ouija

Paleos

Trash Cult (WA)

Deformatory

Cryptae

Zalaam

Omination

Portrait

Oxygen Destroyer (WA state)

गौतम ब' ु ध

Last Year’s Tragedy

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Crimson Fire: Another Dimension

No Remorse Records 27.08.2021 The Greek band began in 2004 and in the next few years did a couple of demos and in 2010 their first album Metal Is Back. An EP in 2012 followed, a 2016 album, and that brings us to 2021. Crimson Fire is legacy-style melodies without extreme elements. Their specialty is memorable songwriting. It is 10 full songs in some 48 minutes. The singing is good and melodic, the guitar playing catchy, the riffs pleasant and nice. The songs range from rockers, to bigchorus anthems, and to super ear-friendly adult contemporary heavy metal, resulting in something like a power/heavy/AOR sound. It's feel-good music, with songs about the night, fire, time and confidence. There is no ballad/power ballad. It's all rock, fun metal, happy metal, with some background keyboards to make the experience even more pleasant. There is no annoying high screaming/yelling, no experimentation, no weirdo/explicit/illicit lyrics, and no political/religious/social statements (It also looks like the lyrics/image is better now because in the past they were criticized for some stupid glam lyrics/image, and it’s possible that they decided to improve on that front). It is prototypical melodic, catchy, pleasant adult contemporary music with very wide appeal. https://www.facebook.com/CrimsonFireFB Feral Lord: Purity of Corruption Vargheist Records 28 August 2021 Bandcamp says that black metal Feral Lord has on drums "Cave Ritual" (also known as: "SLK," "Plaguehammer," and "Jared Moran"), and on guitars, bass and vocals it is "Nythroth" (also known as "Nick Turner"). "Nythroth" and "Cave Ritual" are Feral Lord, and these two individuals are also another entity named Acausal Intrusion, tech-death, according to Metal Archives, which shows literally more than 60 other related projects. The duo is shrieking, fast, harsh and unmelodic, unpolished extremity. It is hard-driving, fastcharging, loud guitar but instead of the normal traits of black metal, like the thrashy, melodic and tremolo characteristics, it is nonlinear, contradictory sounds that do not seem harmonious or smooth. This is not totally dissonant guitar work, but it has some sideways vibes (maybe mathcore?), something that some black metal, avant-garde, and experimental bands are known to do. The vocals are shrieking screaming, and the drummer puts on a clinic. With a such hard-working drummer (from so many projects), this recording sounds rather different like the plastic, flaccid sound of sound replacement technology, sampled drumming and drum programming that is the norm in metal music. Extreme metal audiences interested in hearing an album that is wild, but also offers something different (something less traditional) may welcome the furies at work here. https://vargheistrecords.bandcamp.com/album/purity-of-corruption Deformatory: Inversion of the Unseen Horizon 3 September 2021 The beginnings of this Canadian duo go back to 2008. After figuring out some things, including a name change, they started pushing the boulder up the mountain, in 2011 with an EP, in 2013 with an album, another album in 2016, some singles in 2018, a split in 2019 and now the new album. The vocals are uniformly, consistently a low, gruff, unin

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telligible growl throughout the entire recording. The drumming is comprised of frenetic, super-duper fast blasting, with some segments of non-blasting, but blasting is abundant. The guitars, it should be mentioned, are not jazz-like nor experimental, which makes the music much more comprehensible to the audience. The wrist-breaking guitar work can be thrashy, tremolo, death metal, and more, all done with a brutal contemporary death metal production, and it also played skillfully, and very fast, overall. This is fast brutal death, but the most important part is that it is understandable quickly to the genre’s audiences. The one-dimensional growling may work against them with fans that want more variety, screams or craziness. Sometimes the bass guitar is audible, but for the most part it is not necessarily so, and it is part of the frenzied heaviness. The drum sound seems normal in this genre, which means sampled/replaced drumming. The album could entertain the devoted fan of contemporary brutal or tech-death, while keeping in mind that this is not jazz/abrupt metal, just fast, growling, and headbanging. https://deformatory.bandcamp.com https://www.facebook.com/Deformatory Portrait: At One with None

Metal Blade Records 3 September 2021 Over the course of 15 years Portrait has been working with the proposition that classic-style form of traditional, legacy heavy metal that can be skilled, and ominous, not a goofy, silly or joke music style. This, their fifth album, finds them continuing their trajectory, one that has been marked by good quality, and a certain uniqueness with their ominous heavy metal. The listener gets the feeling that the songs are crafted with attention to detail. The guitar work shines. The riffs and the melodies show a lot of work put in to make things worthwhile for the knowledgeable audiences expecting good guitar playing. The vocals are classic-style, prototype melodic singing with high notes. There are high notes, but it is not show-off nor horror-metal, which is why fans of classic-rock, heavy rock singing in the melodic style would be potential listeners. The singing is the not schizophrenic King Diamond horror creepiness, although in the high notes, there is sometimes a distant yet detectable echo of Mercyful Fate. "A Murder of Crows" is probably the most Mercyful Fate/King Diamond-ish, the one where they purposely indulged in their inspirations. A good reason to look into Portrait is because they do not disguise their music. Disguises can be things like speed, blasting, playing really slow, adding lots of ambient sounds, or certain brand/name production. Listen not because the production fits a certain scene, not because they have a good gimmick (they don't). They have no mascot, no fake personas, no speed/slow tricks. Listen to enjoy the art of good guitar playing, good riffs, with also interesting, traditional melodies and solos playing on top of the rhythms. Listeners may also notice the good rhythm section, and the clear drum sound, of course, as it is an entertaining part of the sound. It’s been a good while since their previous album in 2017, but this is another strong chapter in the band’s discography. https://portraitsweden.bandcamp.com https://www.facebook.com/portraitsweden/

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Ouija: Selenophile Impia April 27th, 2021 1.Selenophile Impia 07:07; 2.Kerberos … Like Hell Dogs 04:21; 3.Therianthropic Involution 07:36 Metal Archives shows that black metal band Ouija (Spain) began in 1994 as Levial and soon became Ouija from 1995 to 2001. Fans of traditional, blasting, shrieking black metal may enjoy the 1997 album Riding into the Funeral Paths for the tight, serious execution. Nowadays one can't help but notice the sound of classic-style black metal (Some older, devoted supporters in the U.S. most likely remember fondly this Spanish band, as the album did make the rounds amongst some circles). It looks like fans in Spain took notice of the quality of Ouija. Later, from 2001 to 2009, it looks like they were inactive, but broke their silence with 2010's Adversary EP and then the 2013 album Ave Voluptatis Carnis. Unfortunately, something seems to have gone wrong again and it is not until 2021 that they have another recording. Here's hoping that things get better for them because, judging from this EP, the music is entertaining, featuring a strong, deeper (not shrieking anymore, for your information) black metal growling; that classic style of drumming, including blasting, that is super tight; and those riffs that inevitably get you banging your head or moving in some way. https://ouija-spain-official.bandcamp.com/album/selenophile-impia-ep https://www.facebook.com/profile.php?id=100063462515530 Cryptae: Decrepit Collection September 3rd, 2021 Sentient Ruin Laboratories 1.Glubroneus 05:30; 2.Ventrum 04:17; 3.Cryptae 01:47; 4.Maze 02:39; 5.Vestigial 18:49 According to Metal Archives, Cryptae is two Dutchmen: Kees Peerdeman [Heavy Natural, ex-Invunche (live)] on guitars and vocals; and René Aquarius [Coffin Lurker, Dossier Negro, DungeönHammer, Horrid Apparition, Imperial Cult, Plague Organ, Sneezing Pus, Celestial Bodies, Dead Neanderthals, Dystopian Architect, Heavy Natural, Krishna, O Saala Sakraal, ex-Fantoom] on vocals and drums. It means savage, ugly, animalistic heaviness, something akin to garage, minimalistic, simplistic, obnoxious cave growling that emphasizes chugging guitar, and loud, basic drumming. Even death, black, doom and extreme metal fans in general might not be ready for this jelly. When the going gets tough, Cryptae gets a lot more abrasive, like the guitar (is that even a guitar?) is the sound of sandpaper rubbed against the wall loudly in exponential way, and an angry bear is playing drums, and now add the vocals, and things just got a lot bigger, dumber barbaric. It sounds like it was recorded in an old warehouse, down by the abandoned oil refinery. It has a rough-and-tumble, even a somewhat industrialbrutal feel to it (but it does not sound like drum programming, and it's not "dancey"), with a big, fat drum sound, almost like Cryptae was imagining a couple of angry, frustrated brutes finding a guitar, microphone and drums in said abandoned warehouse, and they start growling and pounding. It is primal-horrible in the most knuckle-dragging way possible. Listen to it and walk right into the ugliness, and if you keep listening, you may just discover the joy, the pure joy, in this postapocalyptic tribal-garage growl cacophony of the ogres. https://sentientruin.bandcamp.com/album/decrepit-collection

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Oxygen Destroyer: Sinister Monstrosities Spawned by the Unfathomable Ignorance of Humankind August 27th, 2021 Redefining Darkness Records 1.Merciless Embodiment of Everlasting Death 02:42 2.Possessing the Putrified Remnants of the Unholy God Incarnate 04:29 3.Slaughtering the Guardian Monsters 04:34 4.Sons of the Necrobeast 03:37 5.Enduring the Maternal Rage of the Amphibious Monstrosity 03:33 6.The Plague Spreading Horror from 20,000 Fathoms 02:19 7.As Big as a Battleship 02:01 8.Their Reign Has Begun 06:01 total playing time 29:16 Sadly, because apparently I am living under a rock, I found out about this Washington state band's new album after it was released. Just look at that track list. It's impossible not to like the efficiency. Warning: You're going to need a mosh pit for this one. Given that this recording is already out, let's get to the point quickly. Oxygen Destroyer is traditional black/death/thrash played at a frenzied pace, and with rasping extreme vocals in the black metal style. Oxygen Destroyer is one of those bands that all three major denominations can be present in the same place and bang their heads in unison. The death fans can enjoy the speed and intensity, while the thrash fans bang their heads away to the riffs and frenetic drumming, and the black metal fans can raise the horns to the bestial sound of raging vocals, blasting, and raw, tight execution. As usual, all the lyrics are Godzilla-related monsters/themes. Since 1014 Oxygen Destroyer has been making this type of music, and on this, their second album, they continue their nonnonsense, no-time-wasting, lean, mean, proud, fast and brutal extreme metal. They believe in getting the job, and getting out quickly, leaving the audiences wanting more. We want more. https://www.facebook.com/KaijuConjuringDeathMetal https://oxygen-destroyer.bandcamp.com/album/sinister-monstrosities-spawned-by-theunfathomable-ignorance-of-humankind Paleos Paleos is deathcore/metalcore from Georgia, USA. Their 2017 album is called We Are The Weary. Since then they have done a couple of singles, one in the summer of 2020 and another one this summer of 2021. The debut album features gruff, brutal growling and a rather heavy, groovy style, a heavy yet accessible sound, with a bit melody sneaking through, including some melodic singing. There are several things that stand out. The guitar melodies and the soloing offer catchy vibes, like melodic death metal distilled through deathcore/metalcore, like the title track, for instance. On the other hand, there is a sense of a youthful sound going on. They’re interested in heaviness (contemporary American heaviness, post-2000, post-Slipknot heaviness, if you will) and that shows in their deathcore/metalcore/melodic death metal sound. They’re also in-

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terested in melody, and having it incorporated to their heaviness. The listener will be able to sense the fluidity and openness of the sound. Anyway, the two new singles, of course, are not enough to say where things will go in the future, but things are looking good so far, not too different from the album, but also there are a few hints of how they are gaining more experience. At any rate, check this chugging heaviness, the brutal deep growling, a bit of melodic singing, and the guitar melodies. That’s their combination into the sound of Paleos. https://paleos.bandcamp.com https://www.facebook.com/paleosband Zalaam: Nocturnal Luster November 10th, 2020 1.The Calls of War 06:17; 2.Uebermensch 08:31; 3.Nyx 02:35; 4.Eccentria 03:15; 5.Into the Cave 08:30; 6.After Purgatory 07:26; 7.Atma 04:41 (total 41:15) Metal Archives and Bandcamp show that "Zalim" (Amir Yacoub) is a Palestinian man with a solo black metal project. All the instrumentation, vocals, lyrics, and the various aspects of recording were all done by Amir, says Bandcamp. It is homemade, DIY black metal, like a metal music demo, and there are mellow or acoustic moments, so it is not a raging black metal jackhammer, but more like a varied recording falling mostly in the category of eclectic black metal. Observe that this recording is exclusively for the very curious fan into DIY, solo and eccentric projects, and not for audiences demanding professional, studio recordings. Here are some excerpts of Amir’s explanation back in 2019: "This is addressed to my friends who know me mostly as Amir the Oud player and the nice school teacher. Most of you don't know a lot about my music preferences and creations, but a big part of my knowledge about music, harmony, counterpoint and theory came rather directly and indirectly from listening to black metal music. The way I personally see black metal is almost like a very dark extension of classical music and the opera... on steroids. … This music is filled with hellish and heavenly sounds, beauty and ugliness, fantasies and realities that reach deep levels of intellect.. but most of all, gloomy art and poetry at its best. … If I were to say something about the music in it, I'd say, even though I've striven to include the Oud as much possible in it, it's probably not for everyone (especially because of our Arab society's untrained ears), but with that said, everyone can find something in the album that they can relate to. Maybe a nuance, a melody or even a whole song." Anyway, this is all information from Metal Archives, Bandcamp and Facebook that you can check out for yourself and see what you think. https://zalaam.bandcamp.com/releases https://www.facebook.com/Zalaam-107524613963484/ गौतम ब( ु ध: पन ु ज-.म भाग १ 1.भगवान क/ आ1ा से

July 16th, 2021

09:42; 2.प5 ु य समा7त हो जाने पर

09:27

3.प5 09:25; 4.पाप का फल भोगने के >लए। 09:25 ु य फल भोगने के >लए total time 37:59 A raw, DIY, homemade black metal project, the internet says that the Indian entity’s name means Gautam Buddha, who Wikipedia describes as: "Gautama Buddha, popularly known as the Buddha, was a Śramaṇa who lived in ancient India (c. 5th to 4th century BCE). He is regarded as the founder of the world religion of Buddhism, and revered by most Buddhist schools as a savior, the Enlightened One who rediscovered an an-

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cient path to release clinging and craving and escape the cycle of birth and rebirth." The name of the recording means "Reincarnation, Part 1." The name of the songs translated from Hindi by the internet are: 1.By God's command; 2.When the virtue is over; 3.To enjoy the fruits of virtue; 4.To enjoy the fruits of sin. The vocals are totally shrieked, and with effects on them. The drumming must be programmed. The recording is exclusively for the very curious fan that enjoys hearing DIY recordings that most metal fans would consider bad quality recordings. Having said that, the guitar work has lots of fast riffs and some gentle melodies that will catch the interest of the most adventurous fans. The most interesting aspect is the guitar work and the various melodies that are fun to hear, if the listener enjoys lo-fi black metal recordings. Again, not recommend for anyone, except the super curious black metal fanatics. https://siddhatthagotama.bandcamp.com/releases Trash Cult: 2021 Demo July 30th, 2021 1.Night Terrors 02:36; 2.Leech 03:04; 3.Law of Ruins 02:34; 4.We Belong Dead 02:22 ; 5.Trepanate Me 01:25; 6.Throw Them To The Wolves 03:00 (total time 15:01) Trash Cult is Washington state fast and rude punk-metal, like the punk cousin of black metal. The vocals are an obnoxious punk shouting scream, the guitar is rough, and the rhythm section is a strong, human rowdy beat. The guitar sometimes sounds all-out punk rock and roll, but then it can also chug and get heavier. The recording is garage-style, and fits the music rather well. Here and there, there are brief hints of tight extreme metal, and they show that maybe they could play necro black metal if they wanted to do it exclusively, but they prefer to play that style of punk that people call crust, d-beat and all things like; it’s for fans that want to hear raw, human, uncomputerized punkmetal. https://xtrashcultx.bandcamp.com https://www.facebook.com/TrashCultSeattle Omination: NGR February 5th, 2021 Hypnotic Dirge Records 1.Crossing the Burned Wasteland 03:51; 2.Apocalyptic Ignis Fatuus 10:14; 3.Last Trisagion 04:50; 4.Necropolis, the Backbone 07:59; 5.The Sword that Came Out of His Mouth 07:28; 6.Unto the Ages of Ages 08:48; 7.Death(s), Love, and Life 07:43; 8.Post-Apocalypticism 06:23; 9.The New Golgotha Repvbliq 20:17. total time 01:17:33 DISCOGRAPHY ...Whose Name Is Worthlessness (demo) Followers of the Apocalypse (full-length) 2018 The Whirlpool of Ignorance (full-length) 2018 The New Golgotha Repvbliq (single) The Pale Horseman (EP) 2020 NGR (full-length) 2021

2018 2019

Omination, according to Metal Archives, has been active since 2016, and it seems like they already had some buns in the oven long before the project came out to the public. The previous recordings look like they were the one-person work of Fedor Souissi. All three current Omination musicians are Tunisian, with Fedor possibly living in Germany. Omination 2021 is generally a continuation of super-duper slow, massive heaviness of growling, with some melodies that line the slow-motion rolling snowball of sloth. What to

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expect, then? Scream-growled vocals, mostly, and some variety in the vocals (lower spoken-song vocals, for example), slow instrumentation in the style of funeral doom, with some variation to spice up the monolithic feel, the use of keyboards for some neosymphonic vibes, some guitar melodies for memorability and melancholy. In short, if you have the patience for 77 minutes to listen to this iceberg, then it may impress the funeral audiences big time. https://omination.bandcamp.com https://www.facebook.com/ominationband/ Last Year's Tragedy: Amongst Lions January 14th, 2021 1.Of Faith and Ruin 01:42; 2.Red Dwarf 04:23; 3.Mammoth 05:05; 4.In Medias Res 04:26; 5.Perihelion 04:45; 6.Intercessor Feat. RISH 03:45; 7.47 03:44; 8.Pounds For Flesh 03:09; 9.Violation 04:04; 10.Threat Level Midnight 04:16; 11.Aphelion 04:34 The latest recording by Last Year's Tragedy (Kenya) finds them, as usual, sounding better and better. Back in 2010 their sound was a young metalcore beginning. By 2013 things were sounding tighter, improved, as they reached a more mature phase: the scream/growl vocals were heavier, the melodies were sounding nice, the melodic singing was shining. The 2015 single was also promising, as was the 2019 single. By 2019 their sound was both more metal, thrashy in a classic-style melodic death metal way, while keeping the melodic metalcore very much alive, and the melodic singing had never sounded better. Now with a full-length we can all hear where things stand. Tight riffing, good guitar melodies, pleasant keyboards, good and intelligible (slightly raspy) growling, memorable melodic singing and catchy songwriting. This engine is firing on all cylinders. Their ear-friendly combination of metalcore and melodeath makes for a fun, entertaining listen. There are other things to note, too. There is a detectable amount of melancholic vibes, almost akin to goth; sometimes there is some tremolo guitar work (has someone been listening to black metal?!), a bit of deathcore, breakdowns, blasting, post-hardcore, some pop sensibilities, the wonderful melodic voice of guest RISH, and other elements. Fortunately, there is a coherence to it all. I think that younger audiences in here the U.S. might really get into this band. https://lastyearstragedy.bandcamp.com/albu m/amongst-lions https://www.facebook.com/LastYearsTragedy/

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Metal Bulletin Zine no.217  

Metal Bulletin Zine no.217: Crimson Fire, Feral Lord, Deformatory, Portrait, Ouija, Cryptae, Oxygen Destroyer (WA state), Paleos, Zalaam, गौ...

Metal Bulletin Zine no.217  

Metal Bulletin Zine no.217: Crimson Fire, Feral Lord, Deformatory, Portrait, Ouija, Cryptae, Oxygen Destroyer (WA state), Paleos, Zalaam, गौ...

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