Out of Step UK Volume 17

I've had a great time compiling this volume of Out Of Step. As with every issue I try to present to you the best the heavy metal has to offer.

In this issue I speak to the Power trio that is 'Bleedskin'. The Lovecraft inspired black metal of 'The Great Old Ones', Slam Maniac's 'Anointing of the Sick’, Death Metal legends Brodequin and our amphibious Doom overlords 'Froglord'.

I hope you enjoy reading this issue!

See you next time.

Dave Gilmore Out of Step UK

Belgian death metal power trio Bleedskin have all the makings of your favourite new band. The group released their second record, 'Homicidal Therapy' late 2024 to much acclaim. Vocalist/guitarist Céline took the time to discuss the band and the new record.

When you look back and reflect on the entire process creating that album, what were the main challenges you faced and will you be doing anything different when it comes to the next record?

- The challenges were that everyone was still learning a new instrument.

Rémy and I had just started singing and were still beginners during the vocal recordings, and it was the same for Logan. At the time of the recording, he had only been playing drums for 1.5 years. Fortunately, for the next recordings, we will no longer be beginners. Despite these challenges, the recording and creation process went very well, so I don’t think we’ll change much for the next one.

As a band you are a couple of albums into your career. Do you feel you ve settled into a groove with your music or are you still finding out who 'Bleedskin' are musically?

- I think with the current line-up we know what we want to do. It's a lot easier to create music when we're a power trio and we love the same genres of metal so it's helps a lot.

The new record has been out for a few months now. How has the response been?

- The fans received the album exceptionally well! We’ve had an overwhelming amount of positive feedback from fans, organizers, musicians, magazines, and webzines.

Where do you draw inspiration from when writing for the band? Do you still draw from the same places you did when you began writing music?

- I've always written music for Bleedskin and I always said to myself "I want something brutal and I want people to headbang" quite simply.

Last year Knoxville natives Brodquin released their first record in twenty years. This beast of an album was a great success with critics and fans alike (it featured in our 'best of 2024' list). Since then the band are only growing in popularity and their debut UK show is mere months away. Vocalist and bassist Jamie Bailey took some time out to talk about the record and that long awaited debut.

It's been some twenty odd years since that bands last full-length record. How would you say that the band have changed since (2004) 'Methods of Execution'? Do you approach anything about the band differently?

I would say in many ways. We approached it similarly to how we always have. The nice thing about having such a break is there was no pressure on what was “expected” from us. It wasn’t a follow up to an album we released a year prior or anything like that, so we were able to look at it from a fresh perspective.

As far as any changes, I would say we are still interested in playing fast. We have always enjoyed the challenge that playing quickly brings. Also, we opened up a bit to the more atmospheric elements that we had been experimenting with in the past. Many know that we have a wide range of influences and have had some experimental tracks at the end of some of our previous works. This time around we wanted to see if we could bring a darker feel to the songs by playing a bit with the spaces in between certain sections. Of Pillars and Trees is a good example of this.

The artwork on the new record is incredible. It seems to fit the album perfectly. How did you go decide on the art direction for “Harbinger of Woe”?

The piece is called The Martyr of Fanaticism by José de Brito painted in 1895. Its currently housed the National Museum of Contemporary Art in Lisbon, Portugal. This had been a piece of art I wanted to use for a while but never seemed like it was the right time. Once we were working on Harbinger of Woe I knew it would be a great fit for what we were tying to express. I think it works perfectly with so much of the emotion that are tied into the lyrics/witness accounts of some of the songs and overall feel of the album.

I understand the accuracy of the events you describe in your music is important to you. When you are writing lyrics how do you balance historical accuracy with the story telling aspect of song writing?

Great question! The accuracy is vital when dealing with a specific subject, for example a unique instrument of torture like the Judas Cradle. In that sense everything from a historical aspect ( e.g. descriptions, witness accounts, etc. ) will all be in line and accurate. When titling songs, or trying to convey the possible emotions of the condemned, the crowd or executioner you can have a little more room to express your thoughts into the lyrics. Tyburn Field for example has a fairly poetic sound to it, like maybe a nice place to take walk. Of course, the Tyburn Tree was the principal location for public executions for hundreds of years in London. In this case I took some liberty with the title and tried to make it sound benign, similarly on the new album Harbinger of Woe with tracks like Theresiana and Tenaillement, the French pronunciation of Tenaillement is not at all aggressive sounding and misleading to what you would be about to experience.

Does having a brother in band help or hinder the creative process!?

I personally think it helps. I can bring Mike any idea without (too much) fear of being ridiculed lol.

Seriously, I can put forth ideas that are really rough around the edges and Mike can craft them into exactly what I was thinking.

Considering we grew up together we have already seen each other do stupid things or make mistakes, so I think it gives you a freedom to throw any and all ideas around not worrying about looking foolish.

How does drawing from historical events, particularly the medieval period, influence Brodequin’s creative process and overall identity as a band?

In the early days we were trying to think of something that would set us apart from all the other brutal death metal bands out there. I have been a long time, in fact lifetime student of many subjects, history being a major one. To me, there was no better source of inspiration for our version of death metal than history. Medieval history is full of actual brutality that individuals, governments, or religions inflicted on each other, and its all well documented.

Some of the best record keeping comes from the Spanish Inquisition but many are portrayed in art, architecture, government documents, theatre etc. It seemed like a logical choice to try and share all of this information with people who may not have been exposed to it before. Once I started writing with all of this in mind, I knew it would be what I used for our identity. Our logo is a reflection of that, its not at all like the majority of band logos in our genre, nor is the art we choose.

Many of us are familiar with the serial killers of recent or current times, or executions that take place behind closed doors in prisons for example. But those examples are pale in comparison to what happened throughout history, many of them being public and witnessed by thousands. Its an interesting period for sure, the amount of engineering it took to craft certain items, purely for torture or execution is remarkable.

As musicians do you immerse yourselves in a wide range of music and other media or do you stick to the 'metal' side of things?

What are you listening to at the moment?

I listen to virtually all genres of music. There are so many great musicians out there you never know when and where you may pick up some inspiration. It can be anything from Anaal Nathrakh, Black Sabbath, Marduk, Jesus Piece, to ZZ Top.

Later this year the band will make a long overdue UK debut at this years Damnation Festival in November. Are you looking forward to it?

We are very excited about this appearance. It looks to be a great festival with an excellent staff, and great bands.

We have had a lot of support from UK fans over the years and really want to share some good times with them.

There is no doubt we will be staying in the area for a few days after, there’s a lot of spots I need to visit. I have read about so many things, that actually seeing them in person will be a huge deal to me.

The festival is getting quite a reputation for bands playing full album sets. If you were to play a set like that which record would chose and why?

Thats a tough one. I would probably say Festival of Death, as that album really brought us to the attention of many in the underground. Although, Instruments of Torture is what started it all, so it would be a tough decision. Of course, it may be Harbinger of Woe, which is our most successful album to date.

Even at this early stage it's looking extremely likely Brodequin will be the heaviest band on the bill. Would you agree?

Possibly, I don’t know. It’s always hard for me to make that call, Wormrot and Pig Destroyer for example are pretty damn heavy, maybe in a different way, but certainly sick. From a purely brutal death metal perspective we may be the heaviest on the bill as the other bands aren’t BDM. But we will see, still lots of bands to be announced!

After this touring cycle is over can we expect the band back in the studio?

Yes, we have already started writing new material. We are putting the pieces in place as far as the overall direction, its still very early on in the process. I’m compiling the artwork and gathering ideas, Mike has some songs in rough stages so its a start!

Froglord have been around for some five years now and are on the precipice of releasing their latest and most ambitious record yet. The bands ringleader and vocalist took some time out from the swamp to answer some questions about the record.

To Those of us unfamiliar with Froglord how would you describe your music?

To listen to Froglord is to wade through a murky swamp at nightfall.

In the distance you hearing the rhythmic thrumming of drums, and the chanting of disembodied voices.

You come to a standing circle of stones. Within it are a crazed horde of cultists. At the centre above the sacrificial alter, stands the great amphibian. You enter. Slime oozes from the creature, giving off a hazy cloud of fumes. You breathe them in and feel yourself sucked deeper and deeper into the vortex. When awaken, there is no around you and you are left wondering if it had all been dreamer or slime driven hallucination.

It's been a couple of years since your last record (2023) 'Sons of Froglord' has much changed for the band in the last couple of years?

I'd like to think we've been very active in that time and grown a lot as a band.

We've been playing up and down the UK pretty consistently in that time, getting the opportunity to play some amazing shows, including Bloodstock Festival last year. I think the Live By The Fuzz EP that was out last year was a big turning point for us. We've always been fairly goofy in our act and stage presence, but with that record I think we made the choice to start becoming a little more serious and investing even more into the atmosphere and production of our live shows.

The new record is out in May if I'm not mistaken. Can you tell us a bit about it?

Metamorphosis is the 5th instalment in the tale of The Froglord. In this record we find Herman deep inside the ancient forest; 10 years after the events of Sons of Froglord and another 490 before the Amphibian Ascension, having spent this time in deep amphibious meditation.

Visions of a meteor, whispers of a prophecy, rumours of the swamp. Herman The Man, must soon embark on a journey to complete his metamorphosis and become The Toad; spiritual guide of The Froglord.

Would you say it's an evolution of Froglord? How does it differ from your previous albums?

As with all Froglord records, the sound always changes a bit with each release. Having said that though, Metamorphosis is going to be a lot more of a return to the sound of The Mystic Toad record, albeit a lot more refined and arguably more heavy. Often when finishing a record I'm happy with about 70% of it and the rest is just "ehhh thats fine I guess", but i really feel like this is the best Froglord record to date, start to finish it's a heavy hitter.

You have a pretty extensive tour planned to support the album. Is the band excited to be back on the road?

Getting out and playing in front of people is always the best part of making music. It's always a blast on the road with the rest of the band too.

Putting on a great show for everyone, meeting so many of our fans is really one of the greatest feelings. So yeah, we absolutely can't wait!

As of writing Froglord has been announced to play this years Desertfest in London later this year. It feels like this is quite a milestone.

Would you agree?

Yeah, we are still in a bit of shock and awe over it to be honest! Desertfest was always this kind of pipedream for the project when we started performing as Froglord. And now to be asked to headline the Saturday at The Dev, is a truly humbling experience. We are incredibly grateful for the opportunity.

A few weeks ago you played your debut show in Poland! How did that come to happen and how was that experience? Did the Polish fans take to the way of the Frog?

As with most things in the music industry, I think it mostly came down to luck, and happening to know the right people at the right time. The promoter used to go to uni with our bassist and drummer, who moved back to Poland a few years back. He puts on some really great shows out there, and just happened to ask us if we would be up for coming out for one of the shows he was putting on and obviously we didn't even hesitate to say yes haha. The shows itself was incredible though, and the Polish crowd definitely did not disappoint. Jebac Stoner!!

Last year you penned a track for the indie horror movie 'Frogman' did you approach writing that song differently from normal given it's use in the film?

I think knowing that is was going to be heard by a lot more people who wouldn't have been aware of us, I definitely wanted to try and write some a bit more accessible and more of introduction to Froglord, without throwing folks straight into the deep end of the sludge. For the music for Frogman 2 (which will be out late 2025), we definitely aren't taking that approach. Expect full sludge!

You also played a show at a Bristol cinema before a screening of the movie. That must be one of the most unique shows you ve performed?

That was an incredibly cool show! the cinema is part of Bristol Aquarium, which definitely helped with the swampy vibe. During the set we played before the film was shown on the big screen, we have loads psychedelic warpy frog visualizers projecting behind us. It's gonna be a hard one to top in the way of uniqueness.

Newcomers Appointing of the Sick have just released their debut EP 'Urban Carnage' into an unsuspecting world. The Philippine slam group have all of the tools needed to break out in one of metals most bizarre and fun genres. Drummer Ced Genave took some time out to talk to me.

How is the scene where you guys came up?

We have fewer Slam bands in the Philippines compared to other countries; it seems this sub genre has been almost forgotten here. Instead, we have a strong presence of Brutal Death Metal, Metalcore, and Hardcore bands.

I came across you guys watching your video for single 'Lexi Gore' from Slam worldwide on YouTube.

Could you tell me a little about that track and why you chose that song to represent the band?

It all started when we welcomed our new guitarist, Pao Hipolito.

With his addition to the band, we were excited to see how our sound would evolve. Coming from the Laguna Hardcore scene and having a background in Brutal Death Metal before shifting to Hardcore, he brought a fresh perspective that motivated us to write a new song within a month.

We named the track "Lexi Gore" not because of the adult film star, but because she became a popular meme in the Philippines.

As for the moan samples in the song, that was all thanks or no thanks lol to our guitarist, he kept sending that annoying sound clip in our Facebook Messenger daily.

What started as a joke eventually made its way into the track, as it blended surprisingly well with the overall composition.

You guys use a lot of samples in your songs how do you go about finding something that fits with your music?

The bands debut EP 'Urban Carnage' has just dropped. How has the reception been from fans?

Finding samples isn't difficult for us since all our members are meme enthusiasts and big fans of hip-hop music. If you took a peek at our group chat, you'd see it's flooded with memes—lol!

Hell yeah! The mosh kids are loving it, and we've received an impressive number of views and streams for our debut EP. We’re truly grateful!

The stories of HP Lovecraft have always held a special place in my heart. Thrilling tales of cosmic horrors beyond imagining. I always thought that these manuscripts would work well for a metal band. It seems 'The Great Old Ones' agree with me. The band have just released their latest record, 'Kadath' which is simply a game changer for modern metal.

How would you describe the band’s sound to the uninitiated?

Benjamin Guerry (guitar, vocals): The music of The Great Old Ones is not always easy to describe. We take our roots in black metal, being fans of bands like Emperor and Enslaved. But we also draw on atmospheres that we can find in post rock, post hardcore, and doom. There is also a whole dramatic and epic dimension, particularly in our latest album, "Kadath". After 5 albums, I think we have found our own identity so the easiest thing is to listen to what we offer.

Your new record 'Kadath' is absolutely crushing! Could you tell me a bit about the concept for the album?

BG: Thanks! As from our beginnings, and because it is the basis of our concept, this album is once again a setting to music of the writings of H.P. Lovecraft. The main difference is that, if on our previous albums we based ourselves mainly on the “Cthulhu Mythos”, this time we took inspiration from what we call "The Dream Cycle" by Lovecraft.

“Kadath” is a direct adaptation of the short story “The Dream-Quest of Unknown Kadath”. This resulted in a very varied album, sometimes brighter, but which still has moments symbolizing fear, nightmare, and madness.

What is the allure of cosmic horror for you?

BG: I've been a fan of Lovecraft since I discovered his world when I was a teenager. This was done through the role-playing game “The Call of Cthulhu”. I was immediately fascinated by the feeling of being initiated into occult knowledge, populated by unholy entities that Man cannot understand. It is also quite linked to the fear of the unknown (space, the abyss), fear which often transforms into fascination and curiosity. Lovecraft's approach is also quite nihilistic, due to his philosophy, called Cosmicism. This allows you to see Man differently, to put your ego in its place. We are not much on the scale of the cosmos.

Do you have a favourite Lovecraft story?

BG: Over time, I rediscovered certain Lovecraft stories which became my favorites. Obviously, I'm still a big fan of classics like "The Call of Cthulhu" or "The Shadow Over Innsmouth". But a short story like “The Outsider” particularly touched me, with its melancholy and gothic atmosphere.

“The Colour Out of Space” is also a very good gateway to the author's universe, due to its construction, which starts from mystery and moves towards pure cosmic horror. All of Lovecraft's talent is included.

To me at least the 'horror' of Lovecrafts writing is that the creatures he creates were around long before us and will be here long after we’ve gone and they don't care about us. Almost like a we would think of a insect. Do you think that translates to a modern way of thinking?

BG: Lovecraft's writings are very anchored in their time. We have since discovered and explored many things. But that does not mean that this way of seeing things is no longer adapted to today's situation.

Yes, we have made progress, but we are also still in the dark about many elements around us. Moreover, some of the author's quotes still work very well in our modern times. We are not immune to one day discovering certain things described by Lovecraft.

Are there any other authors or media that you would recommend to your fans?

BG: I am a huge fan of John Carpenter's movie "The Thing" which is, for me, the pinnacle of cosmic horror in cinema, and perhaps the best Lovecraftian adaptation, even if it is not directly one. There are also all the manga adaptations of the author

by Gou Tanabe which are magnificent, and in which we can feel a real passion for Lovecraft.

The band will be playing this year’s Fortress Festival in the UK are you looking forward to the show?

BG: Of course! We are very happy to be able to participate in this festival, and the line-up is amazing. The venue also looks beautiful, and we can't wait to discover it.

Finally, I must also mention the comic “The Last Day of Howard Phillips Lovecraft” written by Romuald Giulivo and illustrated by Jakub Rebelka. I believe it is not yet available in English but this should be the case within the year. It's a fantastic work, both in the writing and in the drawing. It is also thanks to this that we wanted to work with Jakub for the cover of “Kadath”.

Are there any bands on the bill that you’ll have the chance to check out?

BG: If we have time, I would really like to be able to attend the Akhlys concert, having listened to the last two albums a lot. The band offers a truly nightmarish atmosphere, with an incredible atmosphere. There is also 1349 which always offers very intense shows.

The band will be supporting 'Cult of Fire' along with 'Caronte' in what promises to be a hell of a tour later this year, do you know the guys well or will this be a first for you?

BG: We know the bands' music, but we've never had the chance to meet them. The first exchanges in preparation for the tour are very friendly, so it should be as much a human adventure as it is a musical one. Everyone wants this tour to be a success, and we can't wait to be there!

If there's anything else you'd like to promote feel free to add it here:

Does the band have any plans for when the tour is finished? Will it be back in the studio or a having much needed break?!

BG: We are just starting the shows of the "Kadath" cycle so rest shouldn't be there right away! We are still working on new show dates, the objective being to tour as much as possible to introduce “Kadath” to the public.

TGOO's music takes on a different feel when played live, an added power. It is therefore important to be able to offer this trip to as many people as possible.

BG: With “Kadath” we have worked to offer you an intense, immersive and original journey. We hope that you will let yourself be taken into this Lovecraftian experience, and that you will enjoy living it as much as we had creating it!

Drown in Sulphur - Vengeance These days it's getting increasingly more common for deathcore records to scratch a particular itch of mine. Granted, it's probably an itch caused by a severe yeast infection given to me by your nan but I digress....

In parts 'Vengeance' saunters up the metalcore alley but not for long enough to catch anything particularly nasty. This crossover is mostly evident on 'Scarlet Rain' which lives in the everglade of clean vocals and guitar solo's. In spite or perhaps because of this the track is my favourite on the record.

It's is around the half-way mark that the song writing really comes into it's own and the band break out of the tried and tested 'Deathcore' formula whilst staying true to what works in the genre.

The production on this record is so polished you could see your grotesque, likely hungover and aging form in it's reflection were you to somehow look through it. Overall 'Vengeance' is very enjoyable listen that stands apart from other bands in the genre. A great way to start the new year.

Paleface Swiss - Cursed When I was around 12 years old I discovered Slipknots debut record and have been a massive fan ever since. So to it seems are Paleface Swiss.

Their latest record is very similar in energy and style even down to the pseudo rapping Corey so elegantly pulled off on 'Spit it Out' here brought to the front on track 'Enough?' Is imitation the best source of flattery?

Perhaps. Don't get me wrong, this record is an enjoyable listen through out and had it come out all those years ago when I was young and full of teenage angst I would have lapped it up like your mum at the aftermath of a bukkake shoot.

However as I'm now old and full of angst it still hits mostly the right spots up my intrigue pipe.

Lyrically, at times the band does venture into cringe worthy territory but manages to pull it off with sheer force and commitment. This does fall down rather on final track 'River of Sorrows' which lost me completely. There is nothing on this album that will usher in a new era of musical diversity but then again there doesn't really need to be.

For my ears at least the band have accomplished what they wanted: a solid, hardcore album for those amongst us that are sent to bed without a go on the family playstation, God it sucks being thirty seven.

Barshasketh - Antinomian Asceticism Like an attractive member of the opposite sex approaching me at a bar, black metal always leaves me nervous, sweaty and unsure whether I should check social media to see if they are members of the Nazi party.

An unfair generalisation for sure.

You may wonder dear reader what hell I think I'm doing reviewing this album then. Well bollocks it's January and there's sod all out at the moment so here goes. To my surprise I found myself enjoying this album rather immensely. The atmosphere the band create is as dark and creepy as the inside of a box containing nothing but spiders and the Ebola virus. The songs themselves kept me effectively immersed and the production manages to stay clear of the mire that so many black metal acts wallow in.

One thing I have always enjoyed in black metal is the ascetics. The art used for 'Antinomian Asceticism' is no exception: a chap (or possibly chapess) holding a skull sat on a bunch of snakes. Wonderfully dark stuff, although I'm not sure PETA would approve.

The bands name and album title make me Eternally happy that this isn't an audio review. But regardless of my reading comprehension I enjoyed this record. Perhaps there's time for me to break out the corpse paint after all.

Obscura: A Sonication In truth I am something of a passing fan of Obscura. Not an avid die-hard but neither are the band obscure to me (pun intended). In the past I have somewhat enjoyed their records although they have never really blown me away like a thousand dollar hooker either. 'A Sonication' continues this trend but adds another layer of awfulness like week old cat litter inside an otherwise tasteless trifle.

(More on that later).

The songs themselves are performed with incredible technical proficiency but more often than not come across as rather soulless and forgettable. Then there is the production. Whilst each instrument is crystal clear it comes across as mechanical and lifeless. Perhaps a little rough is what's needed as I said to the ladies at the polo club.

Adding to this records problems is the mix, which is dreadful. The bass parts had me looking for an imaginary bee flying around my head more than once much to the detriment of my furniture and children as I lunged frantically around the room grabbing for something that wasn't there like a castrated wanker.

Annnnndddd now for the hot and spicy plagiarism. It would have been more of a shame if I'd enjoyed this record as the elephant of stolen riffs sits solemnly in the corner hoping I'd forgotten about it. But no, if these allegations are true it would be hard to recommend this record on a moral basis. Thankfully it's shit so I can avoid all that unpleasantness. Cheers Obscura.