American extreme metal project Misanthropik Torment
has officially unleashed its new full-length album “SUICIDE NOTES: THE FINAL
CHAPTER — PLEASE DO, ENJOY MY AGONY”, now available through Earache Records
Digital Distribution and SelfMadeRecords.
The 11-track release is a deeply personal and
uncompromising journey through themes of trauma, addiction, despair, and
survival. Led by vocalist and lyricist Erik Leviathan Scarlet, the album
features lyrics that were originally written as suicide notes during Scarlet’s
time of incarceration, later transformed into a powerful artistic statement.
"I wrote most of them as suicide notes while I
was in prison. Somehow, I survived long enough to turn those words into music.
Please do, enjoy my agony," Scarlet explains.
Formed in 2018 in Lexington, Kentucky, Misanthropik
Torment continues to carve its own path within the extreme metal landscape,
combining elements of dark alternative metal, industrial rock, and post-grunge
into a raw and emotionally charged sound.
With “SUICIDE NOTES: THE FINAL CHAPTER — PLEASE DO,
ENJOY MY AGONY,” the band delivers a haunting testament to endurance, turning
personal suffering into an intense and confrontational musical experience.
Με
μία σφαίρα στη θαλάμη πας για ρώσικη ρουλέτα. Με μία στον γεμιστήρα πας μια κι
έξω. Πάντως, ο Matt Sinner, χρόνια εργάτης του Heavy Rock και Metal, σε αυτό το
άλμπουμ δεν δείχνει καμία διάθεση να παραιτηθεί!
Μελωδικό
όσο δεν πάει, καλογραμμένο, με πολύ καλό ήχο και εκείνη την επίγευση από Thin
Lizzy, τους οποίους μάλλον πρέπει να λατρεύει κι ο ίδιος. Ειδικά στο δεύτερο
κομμάτι, "Back on Trail", προς στιγμήν προσπάθησα να θυμηθώ αν
πρόκειται για διασκευή, αλλά τελικά δεν είναι!
Η
αλήθεια είναι πως οι Sinner δεν είναι το πρώτο συγκρότημα που σου έρχεται στο
μυαλό όταν σκέφτεσαι τη μεταλομάνα Γερμανία. Παρά την παρουσία τους από τις
αρχές της δεκαετίας του '80, δεν κατάφεραν ποτέ να συγκινήσουν τόσο πολύ τον
κόσμο όσο η συμμετοχή του Matt ως μπασίστα στους Primal Fear. Άδικο, κατά τη
γνώμη μου, και αυτό το CD αποτελεί άλλη μία απόδειξη γι' αυτό.
Οι
τρεις κιθαρίστες που συμμετείχαν στη σύνθεση του υλικού, οι Alex Scholpp,
Christof Leim και ο πιο γνωστός από τους Voodoo Circle, Alex Beyrodt, χαρίζουν
όγκο και πλούτο στις συνθέσεις. Παράλληλα, ο Andre Hilgers στα τύμπανα
συνεργάζεται άψογα με τον μπασίστα, τραγουδιστή και αρχηγό του σχήματος,
δημιουργώντας ένα στιβαρό και απόλυτα δεμένο ρυθμικό υπόβαθρο.
Βέβαια,
όσοι τους θυμάστε από την Power Metal περίοδο, από τα μέσα της δεκαετίας του
'90 έως περίπου τα μέσα των 00s, με άλμπουμ όπως τα "The Nature Of
Evil" και "The End Of Sanctuary", δεν θα βρείτε εδώ το ίδιο
μπρίο. Η μπάντα έχει επιστρέψει σε πιο Hard Rock-oriented μονοπάτια, θυμίζοντας
σε μεγάλο βαθμό τον χαρακτήρα που είχε τη δεκαετία του '80.
Αυτό,
όμως, δεν σημαίνει ότι λείπουν οι δυνατές στιγμές. Κάθε άλλο. Το ομότιτλο
κομμάτι, τα "10 2 Death", "Atomic Playboys", "Give
& Take", η μελαγχολική ηλεκτρική μπαλάντα "Haunted", καθώς
και τα "Wake Me When I'm Sober", "Mind Over Matter",
"Rolling Away", "Still Unbroken" και "My Final Day",
συγκαταλέγονται στις καλύτερες στιγμές ενός άλμπουμ που περιλαμβάνει, παρακαλώ,
δεκατέσσερα τραγούδια.
English:
A desperate gamble.
With one bullet in the chamber, you're playing Russian
roulette. With one in the magazine, it's one shot and you're done. Either way,
Matt Sinner, a veteran servant of Heavy Rock and Metal for decades, shows
absolutely no intention of calling it quits on this album.
It's as melodic as can be, superbly written, blessed
with a strong production, and infused with that unmistakable Thin Lizzy
flavour—a band Matt Sinner must surely admire. The second track, "Back on
Trail," in particular, had me wondering for a moment whether it was
actually a cover version. It isn't.
The truth is that Sinner are rarely the first band
that comes to mind when you think of Germany's legendary Metal scene. Despite
being around since the early '80s, they never managed to capture the same level
of recognition that Matt earned as the bassist of Primal Fear. An unfair
reality, in my opinion, and this album serves as yet another reminder of that.
The three guitarists involved in writing the
material—Alex Scholpp, Christof Leim and the better-known Alex Beyrodt of
Voodoo Circle—add both weight and richness to the compositions. At the same
time, Andre Hilgers delivers a flawless performance behind the drum kit,
locking in perfectly with bassist, vocalist and bandleader Matt Sinner to create
a solid, tightly-knit rhythmic backbone.
That said, those who remember the band's Power Metal
years, from the mid-'90s through the mid-2000s, with albums such as "The
Nature Of Evil" and "The End Of Sanctuary," should not expect to
find the same explosive energy here. Instead, Sinner have returned to a more
Hard Rock-oriented approach, one that strongly recalls the band's '80s roots.
That certainly doesn't mean the album lacks standout
moments—quite the opposite. The title track, "10 2 Death,"
"Atomic Playboys," "Give & Take," the melancholic electric
ballad "Haunted," along with "Wake Me When I'm Sober,"
"Mind Over Matter," "Rolling Away," "Still
Unbroken," and "My Final Day," all rank among the highlights of
an album that offers no fewer than fourteen tracks.
Following two demo releases over the course of two
years, Finland's one-man project FILE OF GHOSTS is ready to unveil its first
full-length album, "Grey Metal." Sami, the mastermind behind the
project, is responsible for every aspect of this release—from songwriting and
arrangements to performing all instruments and vocals, as well as handling the
production himself. The album's title is particularly fitting, reflecting the
philosophy Sami shared in the accompanying press material: life is rarely black
or white; it exists mostly in shades of grey. Since music is an inseparable
part of life, it naturally follows the same path. That simple yet insightful
statement perfectly sets the tone for what awaits the listener.
Musically, FILE OF GHOSTS delivers a dark, chaotic and
deliberately primitive form of Black Metal, enriched with subtle industrial
textures and occasional classical influences, while an ever-present ambient
atmosphere wraps the songs in the cold scent of forests, snow and untouched
nature. Despite the raw aggression, the music carries an almost cinematic
feeling, allowing bleak landscapes to emerge beneath the layers of distortion
and relentless intensity.
The vocals are predominantly savage, demonic growls
that reinforce the album's hostile character. However, Sami wisely introduces
clean vocal passages here and there, creating an effective contrast between
melody and extremity. These moments not only diversify the material but also
enhance the emotional weight of the compositions.
If two words had to define "Grey Metal,"
they would undoubtedly be chaotic and lo-fi. Both qualities are entirely
intentional and form an essential part of Sami's artistic vision. This is not
an album designed to win over casual listeners or those unfamiliar with the
old-school Black Metal ethos. On a first listen, what stands out is the sheer
violence and razor-sharp nature of the compositions—a whirlwind of sonic devastation
that initially feels like complete disorder and annihilation. Yet, repeated
listens reveal something far more intricate. Beneath the abrasive surface lies
carefully constructed songwriting, where seemingly disjointed elements
intertwine with remarkable precision to create a cohesive and surprisingly
sophisticated whole.
The long-awaited new album from BULLET has finally
arrived—at least for me, and I'm sure for many others who have been eagerly
anticipating its release. This is a band that takes no prisoners, delivering a
relentless barrage of hard-hitting Heavy Metal that simply kicks ass.
I've always considered BULLET to be a more evolved
version of AC/DC, and I mean that as the highest compliment. While they retain
the straightforward, no-frills, riff-driven approach that made the Australian
legends immortal, BULLET enrich their sound with additional elements that make
it even more exciting. Twin guitar harmonies reminiscent of IRON MAIDEN, faster
and more aggressive guitar work, and even subtle neoclassical flourishes all
find their place without ever compromising the band's raw, uncompromising identity.
If I had to describe their sound in three words, they
would be bad, dirty, and mean. In two words? Kick ass. And if I were limited to
just one, it would simply be ROCK.
“Highway Pirates” is the kind of album that reminds
you why you fell in love with Heavy Metal in the first place. It is packed with
infectious riffs, memorable hooks, and enough energy to shake you out of even
the darkest mood. If you're feeling down and need an album that will repeatedly
knock you flat before picking you up again, BULLET have exactly what you're
looking for.
Quite simply, “Highway Pirates” is a fucking great
Heavy Metal album.
Για
πολλούς εκεί έξω, πρόκειται για το κορυφαίο άλμπουμ των Άγγλων DeathMetal ημίθεων· ένα απαύγασμα ακραίου, αλλά
τεχνικά αλάνθαστα συνθεμένου ήχου, με άρτια παραγωγή και θεματολογία, πάλι και
για πάντα, την ίδια: το αρχαιότερο άθλημα του ανθρώπου, τον πόλεμο. Πρώτα
θύματά του οι στρατιώτες, αμέσως μετά όλοι οι υπόλοιποι.
Έχοντας
ξεκινήσει τη γνωριμία μου με τη μπάντα από μεταγενέστερες δουλειές και
συγκεκριμένα από το –τελικά– λίγο πιο μέτριο Mercenary (αν και, βέβαια, άλλα είχα
γράψει όταν το άκουσα τότε, αφού ήταν το πρώτο άλμπουμ τους που έπεσε στα χέρια
μου), η αναδρομή στη δισκογραφία τους, από το νεότερο προς το παλαιότερο υλικό,
με κέρδισε σταδιακά.
Εδώ
η συνταγή ακολουθεί την πεπατημένη, αποτελώντας φυσική συνέχεια του
υπεραγαπημένου TheIVthCrusade. Το άλμπουμ περιλαμβάνει
μερικά από τα –αν όχι τα πλέον κλασικά– σίγουρα πιο αγαπημένα τραγούδια του
σχήματος, όπως τα Remembrance, WhenGloryBeckons, ...ForVictory, GravenImage, LestWeForget, SilentDemise, ForeverFallen, Tank (Mk.I) και ArmageddonBound. Δηλαδή... ολόκληρο το άλμπουμ, τώρα που τα απαρίθμησα.
English:
Martial Death Metal.
For many out there, this is the finest album ever
released by the English Death Metal demigods—an embodiment of extreme yet
flawlessly crafted music, boasting outstanding production and revolving around
the same subject matter, now and forever: humanity's oldest sport, war. Its
first victims are the soldiers; everyone else inevitably follows.
My introduction to the band came through their later
material, specifically Mercenary, which, in retrospect, turned out to be a
slightly weaker effort (although I certainly had a different opinion when I
first heard it, as it was my very first encounter with the band). Gradually
working my way backwards through their discography, from the newer releases to
the earlier ones, I came to appreciate their music more and more.
Here, the formula remains firmly on familiar ground,
serving as the natural continuation of the much-loved The IVth Crusade. The
album features some of the band's most beloved—if not outright classic—songs,
including "Remembrance", "When Glory Beckons", "...For
Victory", "Graven Image", "Lest We Forget",
"Silent Demise", "Forever Fallen", "Tank (Mk.I)" and
"Armageddon Bound". In fact... now that I've listed them all, that's
essentially the entire album.
The track was recorded at Loud Noise Production by
Owen Davies, who also handled the mixing and mastering duties.
Hailing from Staffordshire, UK, Victormonica blends
the precision of grindcore with the brutality of death metal, the groove of
metalcore, and the aggression of hardcore. The band's lineup features vocalist
Jay Hellfire, guitarist Sean Willday, bassist David Williams, and drummer Mike
Ellis, delivering an uncompromising sound inspired by dark fantasy and
psychological decay.
Known for their disciplined yet chaotic live
performances and tracks such as "So Now the Killing Starts,"
Victormonica continue to strengthen their reputation as one of the UK's most
intense underground extreme metal acts with the release of "The Eve Of
Destruction."
Ειδικό
άλμπουμ γεμάτο καλούδια, από b-sides μέχρι ζωντανές ηχογραφήσεις. Οτιδήποτε
θα ήθελε ο κολλημένος με την πρώτη εποχή (εντάξει, ναι, και την καλύτερη, δεν
λέω!) δημιουργίας των Βραζιλιάνων Death/Thrashmetallers,
των Sepultura.
Ένα CD που κυκλοφόρησε όταν πλέον η σύνθεση
που ακούγεται στα κομμάτια είχε ήδη διαλυθεί: Max και IgorCavalera, AndreasKisser και PauloJr. Από το 1987 έως το 1996 κυκλοφόρησαν
το ένα σπουδαίο άλμπουμ μετά το άλλο, γράφοντας τη δική τους ιστορία στον χώρο.
Εδώ
θα βρούμε το "Procreation (OftheWicked)" (διασκευή των CelticFrost), το "Polícia" (διασκευή των RatosdePorão), το "SymptomoftheUniverse" (διασκευή των BlackSabbath), ανάμεσα σε αρκετές ακόμη,
αλλά και σχεδόν ένα ολόκληρο ζωντανό άλμπουμ με δικά τους κομμάτια μέχρι το
τέλος.
Το
μοναδικό αρνητικό είναι η απουσία της b-side διασκευής του "Orgasmatron", την οποία, καλώς ή
κακώς, παίζουν πολύ πιο τσαμπουκαλεμένα από το αυθεντικό των Motörhead. Γιατί;
English:
Here's another one.
A special release packed with goodies, from B-sides to
live recordings. Pretty much everything a die-hard fan of the early days (okay,
yes, the best era too—I won't argue with that!) of Brazilian Death/Thrash
legends Sepultura could ask for.
This CD was released after the lineup featured throughout
these recordings had already fallen apart: Max and Igor Cavalera, Andreas
Kisser, and Paulo Jr. Between 1987 and 1996, they released one outstanding
album after another, carving out a legacy that secured their place among the
giants of extreme metal.
Inside you'll find "Procreation (Of the
Wicked)" (a Celtic Frost cover), "Polícia" (originally by Ratos
de Porão), "Symptom of the Universe" (a Black Sabbath cover), several
more cover versions, and, to top it all off, what is essentially an almost complete
live album featuring Sepultura classics from start to finish.
The only downside is the absence of the B-side cover
of "Orgasmatron", which, for better or worse, they perform with far
more attitude and aggression than Motörhead's original. Why?
