Wednesday, September 28, 2011

Six In Line - "Blez" This Band

Sweden’s own crossover thrash grunts, Six In Line are a name that’s beginning to get tossed around quite a bit. Their EP, “God Fukn Blez” is a fresh cartoony bat out of hell sure to please the masses.
The guitars are interesting, with catchy riffs that jump around the fretboard. Slayer and Suicidal Tendencies are probably the best way to put it. “Caravan of Entrails” sounds like a Saturday morning cartoon theme from the ’90s. Everything seems to bonk around and will put a smile on the listeners face while they head bang to the tune.
The real power is the bands wild card – frontman “Kaptain Nuke.” Nuke’s vocals are an interesting cross between Mike Muir (Suicidal Tendencies), Tom Angelripper (Sodom) and Arnold Schwarzenegger.
The rhythm section is another cool element, as the bass and drumming is tight and punky. The double bass is strong. One song where the drums shine is “Romancing the Dead.” The bass has a lot of flavor in “Caravan of Entrails” and the closer “Indiscriminate Fire.”
Six In Line is a rad bunch of Swedes that have their own unique style of thrash. They can deliver the goods and have a lot of great humor, which adds to the music.
Be sure to check them out on Facebook and like their page!
Written by Chris Butera

Friday, September 23, 2011

Hot Graves - Desecration Time Indeed

What happens when you take elements from death metal masters like Entombed and Dismember, then mix that with the sheer aggression of a thrash influenced crust band? Absolute D-Beat madness is what happens, and when the madness has ceased, Hot Graves will be there to make it happen all over again. "Knights in White Phosphorous," the amazing debut album, should have no problem whatsoever in rocketing Hot Graves to the top of the metalpunk underground.

So, what can you expect with this release? You can expect to have your eardrums ruptured, your skull splintered, and to have a severe case of whiplash. Despite the generic and cheesy song titles, Hot Graves are more than capable of destroying any venue they come across. The riffs are hard-hitting and catchy, the vocals are crushing, the leads are great and everything just meshes together perfectly. 

The biggest highlight of this album though, is the absolute intensity of the record. Nearly every song will awaken the listener's inner savage due to the undeniable explosiveness of the music. Songs like "Fully Charged" and "I Claim Your Blood (In the Night)"  are heavy, fast and brutal. Basically, to sum up the sound, this band is the equivalent of Bastard Priest and Morbid Saint's lovechild. It's that damn intense.

But, Hot Graves is far from a one trick pony. They can do dark and eerie just as well as they do intense and destructive. The track "Rotted" reeks of Swedeath influence. The fast tremolo picking and melody gives the song a sinister feel to it while simultaneously forcing the listener's head to bang. Another example of Hot Graves' varied songwriting ability can be found on the four minute, doom-laden instrumental "Dirge ov the Apokalyptik Hordes ov the Toxik Damned." An extremely doom influenced riff that plays background to solos throughout, is exactly the kind track that this one is, and it serves as a nice break from the unrelenting crust assault. 

If you're a fan of crust, death metal or thrash, then you should easily enjoy "Knights in White Phosphorous." the best tracks are definitely "Fully Charged," "I Claim Your Blood," and "Get Killed Tonight."

Be sure to check out Hot Graves on Facebook and like their page!

Final Rating - 4.4/5 or 88%.

Tuesday, September 20, 2011

Scythe Interview!

If you've been keeping up with the site for a while, then you'll know that I'm fond of Scythe and I thought their "Seventh Day" EP was awesome, so I got in touch with them for an interview to get to know some more about 'em! Enjoy!

SFM - Scythe does a lot of shows in Southern California. Are there any more shows coming up this year, that we should be aware of? Do you plan on playing other places outside of Southern California?

Scythe - Yeah we do play a lot, especially, the dirtier parts of town. So far, we don’t have anything set in stone right now but we have stuff in the works. For example, we are actually trying to set up a tour for November around the Bay Area. Nothing crazy, just a small 4 day tour with another band from Los Angeles, Malignent. They are really good friends of ours and we just want to get out there to expose ourselves to more of California plus they kick ass and they drink as much as we do.

SFM - What has been the response to your most recent EP, "The Seventh Day?" Is there anything that you would change about it?

Scythe - The response has been fucking phenomenal. It was more of a goal of ours just to get into a studio and record that sound at that moment. We had been working real hard on those 4 songs and I think it shows. Everyone really took notice of us after that. We always came from the backyard roots but we didn’t want be stuck doing the same thing. So we had to take it to another level. To this day, people still tell us how much they dig the songs and I mean it’s about to become 2 years old!!! That E.P. was a big thing for us to accomplish and we are proud of it, it’s our baby. No matter how ugly it looks, we wouldn’t change a thing.

SFM - As far as I know, you have been working on new material. Will this result in a new E.P., or possibly a full-length? When could we expect for this material to be released?

Scythe - Yeah, actually we have been working real fucking hard on new material. It’s been a real struggle trying to go further because going far means money, unfortunately. You are actually the first to know this but we have been working on 10 brand new songs that we are to release on our first full length album. We are in the late stages of pre-production just finishing up some solos and putting together the vocals. Then we will go into the studio with our new partner in crime, Lee Popa, who will produce our record. He’s pretty much taking us under his wing and has been in the music industry a very long time. He knows exactly what we need to sound like and we share the same vision of capturing our intense live sound. Hopefully if all goes well, we should go into the studio before the end of the year and expect a release early 2012. Label or no label.

SFM - What are your thoughts on Los Angeles' metal scene? What are some of your favorite bands from the scene?

Scythe - I think it’s been a wild ride. I still remember when I used to go to shows back in High School when it was all punk and metal core. Then all of a sudden there was all these bands in Los Angeles, including Scythe, that start bringing back that old school influence. And now it’s huge!! There’s always a show every weekend and there’s always some bad ass band coming out on tour. I think it’s great, but a lot of different elements are kind of bringing it down a bit. Especially in Los Angeles, there are the backyard parties that get shut down by the cops almost every time now. And then also bands that take advantage of all these shows by taking their sweet time to set up, robbing people of seeing bands play.

I mean it’s understandable since thrash and extreme music has been given this new life in such a short time but now it’s like, now what? The future is uncertain to say the least, but with all these great bands, there will always be a following whether it is out in the open or deep underground. Metal survives no matter what. We are more vile than cockroaches and stronger than any nuclear attack. I think the community aspect needs to come back into play. We need to support each other whether we look the part or not. Music is in the mind not on the skin.

What was I going to say... Oh yeah sorry went off on a tangent there. I’ll just list my favorite local bands: 12 Gauge Justice, Malignent, Insecticide, Witchaven, Hellcommand, Sakrificer, Disruptor, Velosity, Skeletal Remains, Harlequin, Viacrusis, Taking Over, Master Destructor, and Deathsteel.

So check those guys out if you see them on any shows in the LA area!!!

SFM - Are you, or any of the other members of Scythe involved in any other projects outside of Scythe?

Scythe - As of right now Scythe is the main priority. We have discussed this and it has lead to some...well let’s just say anything short of killing each other. We all are very into this band and dig writing and performing together. But if there’s something in the future that any one of us want to venture out in, then it’s cool with the band. We all want to explore different music or maybe start a side project but we understand that Scythe is the main focus.

SFM - How long do you foresee Scythe sticking around? How far do you plan on going with the band?

Scythe - Until hell freezes over!!! We are ready to go as far as we can. I can’t predict those kinds of things because you never know what can happen along the way. Scythe will be around as long as long people want to hear our form of extreme aggressive music. And I don’t think we will stop anytime soon.   

SFM - What is your favorite song to play live? 

Scythe - A lot of the new material is fucking amazing but I would have to say “The Seventh Day”. Fuck god, fuck religion, just live for yourself. I think a lot of people feel that way. The lyrics are very anti-religious but it’s more about what’s forced upon you. It’s a very fun song to play live and it’s always great hearing people scream the chorus. Gives me chills every time.

SFM - And last but not least, do you have any words for your fans?

Scythe - OUGH!!!

There ya have it folks. Be sure to check out Scythe on Facebook and like their page!

Band Members:
Erik Soto - Bass/Vocals
Dan Carballo - Guitar
Lerry "Moose" Ortega - Guitar
Jose Verde - Drums

Warbringer - The War Rages On

Warbringer are one of the biggest names in the NWOTM, and for good reason. Their debut album "War Without End" caused many heads to bang and began Warbringer's march to the forefront of today's metal scene. After delivering a nice dose of combat shock with their first effort, they would need a great follow up, and they did just that with their sophomore album, "Waking Into Nightmares." This modern masterpiece carried on where "War Without End" left off, as it still contained the Demolition Hammer and Sacrifice influenced thrash assault, but it also saw some more layers being added to the traditional thrash sound. They successfully mixed in death metal influences (Shadow From the Tomb), as well as some doom metal sections (Prey for Death) without going overboard, and the result was 100% brilliance. Now, over a year later, Warbringer is set to release one of the most anticipated metal albums of the year with "Worlds Torn Asunder," but was the wait worth it?

After listening to this album several times, the answer is yes. Warbringer has once again shown why they are the best thing going today in the thrash scene, and one of the best metal bands in general. "Worlds Torn Asunder" is full of catchy riffs, insanely great vocals, stellar solos, intense drumming and everything in between. This album has everything that the previous Warbringer albums had, and more. There are still raging thrashers that are sure to cause some total war such as "Living Weapon," "Treacherous Tongue," and "Savagery." All of these tracks are full of awesome riffage, but the best part of each of them is the way the songs are structured, something Warbringer has always done well. One minute you're thrashing along with a fast riff and then the next a brutal, heavy riff comes in that sends you into a headbanging trance. Along with these songs, there are the tracks that carry on the death/thrash sound that was established on "Waking Into Nightmares," with "Shattered Like Glass" being a perfect example. The same hard hitting thrash riffs, mixed with some death metal styled riffs for a perfect sound. 

But Warbringer has entered new territory as well with this record, with three songs on this record to be exact. "Future Ages Gone," "Echoes From the Void," and "Demonic Ecstasy" are all different from their previous material, and are sure to garner some different responses from their fans. Each of these tracks are pretty different from the others so, let's break them down individually.

"Future Ages Gone" is a nice mid-paced track, but the most intriguing aspect of the song, is how the lyrical content seems to match the actual music. The riffs create an ominous atmosphere that suits the theme of humans becoming obselete to machines extremely well. This isn't exactly Warbringer's greatest moment and the track probably won't be causing much whiplash on the listener, but it is a cool track nonetheless and has some memorable moments.

"Echoes From the Void" is definitely one of the more different tracks on the record, but it is a great track and the experimentation paid off. The song kicks off with a sinister acoustic intro that sets the tone for the rest of the track. After the acoustic guitars are put down a thrashing riff comes in as well as the rapid fire vocals that every Warbringer fan is familiar with, but then the chorus comes in, and it is absolutely chilling. It has an almost black metal ambience to it and it's sure to give the listener goosebumps. 

Then there is the album closer, "Demonic Ecstasy." The intro to this track is similar to the main riff in "Shadow From the Tomb." After the chords are gone, in comes a heavier riff and a much slower vocal passage than usual, but is sounds great. Then comes a more melodic riff that resembles Kreator's "Terror Zone." The track then ends with some heavy riffing, accompanied by some whammy madness. Just like "Echoes From the Void," the experimenting in the sound worked out in Warbringer's favor, and there are no complaints to be made.

As great as this album is, it didn't surpass Warbringer's true shining moment, "Waking into Nightmares," but it is still a fantastic album nonetheless and is easily a contender for metal album of the year. There isn't a single bad track but the best are definitely "Shattered Like Glass," "Echoes From the Void," "Savagery," and "Demonic Ecstasy." 

Be sure to like Warbringer's Facebook page to stay updated and catch them on their first headlining tour!

Final Rating - 4.6/5 or 92%.

Saturday, September 17, 2011

Dr. Living Dead - A Fun Headbanging Time

There aren't many crossover bands coming out these days, which is a shame. Crossover is easily one of the most fun subgenres of thrash, and Dr. Living Dead is a perfect example of this. There is no need for innovation or technicality on the Swedish thrashers' self titled debut, just straightforward thrashing with a punk twist. If you fail to headbang at all while listening to this record, then you are in dire need of help.

All of the tracks on this record are pretty short (The longest track is 4 minutes) and hit the listener , one after the other. Some tracks are pretty fast throughout, but for the most part the tracks have a great mix of midpaced, heavy riffs and faster riffs, making for a perfect headbanging environment. The vocals here are clean and command the crossover madness nicely, and there are also some cool gang vocal sections that are more than capable of getting the listener to shout along crazily. The bass and drums work here isn't much to brag about and neither is the lead guitar work, but this album is about the catchy riffs and how the vocals mesh together perfectly for maximum fun. It's not about the solos.

Songs like "UFO Attack" and "Chucky" can send the listener into a headbanging trance with ease, while tracks like "Hard Target" and "Reptiles Beneath" bring a serious thrash attack and are sure to be great moshers at a Dr. Living Dead show. 

There are no complaints that can be made about this album, and much like this album, this review is going to be short and sweet. There isn't much more to be said, other than this record is ridiculously fun and catchy. Get your hands on it!

Be sure to check out Dr. Living Dead on Facebook and like their page to stay updated!

Final Rating - 4.3/5 or 86%.

Thursday, September 15, 2011

Exmortus - Beyond the Fall of Time

By a show of hands, how many of you have heard of Vektor? How many of you have heard of Warbringer? Well if you have heard of those two and enjoy their takes on thrash, then you will probably enjoy "Beyond the Fall of Time," Exmortus' sophomore effort. This band adds a death metal twist to their brand of thrash, much like Warbringer, but there is also the progressive and technical twist thrown in, similar to Vektor. Don't worry, this band isn't a clone of Warbringer or Vektor, but a band who has established their own sound and stands out among the thousands of thrash bands in the 21st century, just like the aforementioned bands.

Exmortus has actually drawn a pretty varied response from metalheads after the release of their debut full-length "In Hatred's Flame." There were many people that praised Exmortus for their amazing technical skill and their ability to conjure some wicked riffs, and of course there were those who criticized them. The most common complaint heard, was that Exmortus focused too much on shredding and wanking on their guitars, that they forgot about creating some actual music to accompany the endless noodling. After listening to "Beyond the Fall of Time," this issue is still present, but not to the same extent. 

In an effort to write music that shows technical prowess while simultaneously retaining an aggressive attitude, Exmortus went overboard on occasions with the technicality. Some songs seemed to drag on and lacked anything to be considered memorable or fun. At times, it would appear that the music was dominated by the solos and almost seemed like it was an Yngwie Malmsteen piece rather than a metal track. Luckily this wasn't a constant issue and the band was able to compensate with some brilliant riffs and music overall.

After the introductory instrumental "Bane Forthcoming" ends and the track "Kneel Before the Steel" kicks in, you know you're about to go for a ride. The reason Exmortus is so dynamic isn't because of the amount of skill they portray on their lead guitar work, but because of the awesome riffs that can be found throughout "Beyond the Fall of Time." The riffs are pretty technical, but catchy at the same time. The riffs in "Kneel Before the Steel" and "Destroy" are sure to get the listener's headbanging. Along with the Coroner-esque riffs, Exmortus also weaves in great melodies and of course, the guitar solos. (The ones that fit the music and didn't dominate the song).

"Beyond the Fall of Time" provides a nice breath of fresh air with its awesome riffs, melodies and everything else that contributes to the overall sound. (Drumming, vocals, solos, structuring, etc). If Exmortus could place more emphasis on making a catchy and memorable song that kept the listener's attention all the way through rather than trying to fit in as many solos as possible, they could easily rise to the top of today's scene. The best tracks are definitely "Kneel Before the Steel" and "Entombed With the Pharoahs."

Be sure to check out and like Exmortus' Facebook page to stay updated!

Final Rating - 4.1/5 or 82%.

Tuesday, September 13, 2011

Will Ghoul Ever Disappoint?

What is the best way to follow up a great album? With an even better album of course, and the Creepsylvania residents have delivered once again. Ghoul is one of those bands that never disappoints. Their past three full-lengths are all amazing and “Transmission Zero” is no different. Ghoul added more of a death metal aura to their most recent album, “Splatterthrash” by using more melodies and death metal styled riffs, but they seem to have gone back to the grind/death/thrash stylings that they had on “We Came For the Dead” and “Maniaxe” to this record, and that is Ghoul at their absolute best.
Transmission Zero” has all of the Ghoul trademarks that past albums had, like the brutal and ridiculously catchy riffs that are more than capable of getting any metalhead to bang their head. “Brain Jerk” and “Blood Feast” feature riffs that are destined to be venues’ worst nightmares, as they will get any crowd to destroy whatever is in sight, they are so damn catchy and aggressive. Songs like “The Mark of Voodoo” and “Tooth and Claw” also are guaranteed to ignite the moshing itch in metalheads, due to the heavy breaks found on the tracks.
Along with the assault caused by the rhythm guitars, the lead guitar parts here remind the listener that Ghoul can also write some cool solos and melodies to compliment the vicious riffs. The solos found on the opening instrumental “The Lunatic Hour,” as well as “Destructor” all shred and suit the music very well, while the solo found on “Metallicus Ex Mortis” is extremely bluesy and seems like it would find a nice home on a Black Sabbath song.
In addition to the guitars, the bass and drums do their jobs just fine, but hardly stand out like the riffs do. The vocals on the other hand, are a very integral part of the Ghoul sound and always have been. There are the very low and guttural vocals, along with the aggressive thrash styled vocals similar to Morbid Saint, and the death metal growls that allow for a more varied sound. Not many bands can pull this off, but Ghoul is one that excels at it, and it shows here on “Transmission Zero.”
Transmission Zero” is every bit as great as all Ghoul fans hoped it would be. If you’re a fan of any of their previous material, then you will love this album just the same. The best tracks to be found here are “The Mark of Voodoo,” “Brain Jerk,” and “Tooth and Claw.”
Be sure to check out Ghoul on Facebook and like their page to stay updated!
Final Rating - 4.3/5 or 86%.

Nocturnal Fear - Absolute Annihilation is Imminent

At first glance, Nocturnal Fear may appear to be a typical Sodom rip-off trying their hand at creating some of their own war-themed thrash, but that is hardly the case. Sure, "Excessive Cruelty" has its fair share of Sodom worshiping, but for the most part, Nocturnal Fear retains their own sound. It's a sound that isn't really found much in the US nowadays though. This band draws most of their influence from the German masters, but adds a bit more intensity and death metal influence to create a more savage and assaulting sound than most newer thrash bands who tend to take after the bay area style. 

The music found here pushes the envelope at times, not travelling down an exact path as their forefathers. The most noticeable difference is the inclusion of keyboards. Luckily, the keyboard sections are not the driving force of the music and they only appear on a couple of occasions for atmospheric purposes. Another difference is the inclusion of some death metal riffs and tremolo passages, but other than that, this record is one hell of a brutal thrasher from start to finish. 

There really isn't a single attribute on "Excessive Cruelty" that stands out the most, and that is because everything is well done and syncs together nicely to create their sound. The riffs are great and only get better when accompanied by the thunderous drums and the relentless vocals, which sound like a great cross between Mille Petrozza (Kreator) and Darren Travis (Sadus). The songs "I Am War" and "Frozen in Stone" feature some amazing riffs that will surely cause some whiplash. The riffs are either heavy and crushing, causing uncontrollable headbanging (I Am War) or are ridiculously catchy and remain in the listener's head for a couple of hours (Frozen in Stone). You mix those riffs with the aforementioned pummeling drums and devastating vocals, and you have a recipe for success.

Despite the tremendous upside of this album, Nocturnal Fear was unable to create a perfect record. The biggest problem found here, is that "Excessive Cruelty" tends to suffer from excessive and unnecessary parts in the music. With each song averaging at about five minutes, there is definitely room to cut down on some tracks. An album as hard-hitting as this one should not be hitting the listener this long, as it decreases the impact. Songs like "Rolling Thunder" and "World War 3" seem to drag on and never really hit a catchy note. Had these songs been cleared of the excess, the tracks could have been much more impactful on the listener, instead of taking them on a dragged out journey of boredom. It's a little ironic that the two best tracks on this record ("I Am War" and "Frozen in Stone") are also the longest, but both of these tracks manage to keep the listener's attention with awesome riffs, tempo changes and sheer intensity, something the other tracks lacked. 

Aside from the issues with the length of certain tracks and the absence of anything memorable, "Excessive Cruelty" delivers a wicked shot of adrenaline capable of bringing out any metalhead's inner soldier and causing some absolute annihilation. The best tracks here are "I Am War," "Frozen in Stone" and "Absolute Annihilation."

Be sure to check out Nocturnal Fear on Facebook and like their page to stay updated!

Final Rating - 4.2/5 or 84%.

Monday, September 12, 2011

Interview with Disposable!

Today we have with us William Robertson, bassist and frontman of Scotland thrashers Disposable (formerly Disposable Heroes), and a friend of mine.

SFM- Tell us a bit about about your sound, for those that haven't heard you. Who are your influences, and what do you enjoy playing?

Wilb- The sound is heavily influenced by Slayer. With Slayer being a band favourite they naturally became a big influence to us. We covered "Angel of Death" and "Raining Blood" right from the start, which was nearly 2 years ago now so that has been there from the start. Its not as atonal as slayer though, theres more melodic type stuff going on in what we write. That comes more from a Metallica influence. But generally the over all sound comes from the metal bands we take interest in - including Andbawrs' metalcore and hardcore interests, which have led us to write less generic thrashy parts into our songs, more noticeable "breakdown" type parts that we just call "the chunky bits" though. But when you mix the speed and chunky bits, it sounds good, it sounds quite unique. 

SFM- A good range of inspirations never hurt. To my knowledge, you have one demo out. What are your plans for Disposable? Are you focusing exclusively on live shows at the moment, or is there any talk of a studio album in the near future?

Wilb- We dont like that demo much, haha. It was written and recorded a while ago, and looking back I'd rather we had just left out the recording, it was too early. We were lacking a second guitarist at the time and It was kind of something to do while we couldn't gig, and we had the songs so we thought why not? It's okay, there is potential in the songs, and we still play a few of them live, but we dont throw those recording around at people. I dont think we even have them anymore. But it gave us the feeling of being in the studio which was good. We've been playing live a lot the last year and writing too. At the current moment though, we aren't worrying too much about live shows, we've played plenty recently, although we have not stopped completely. We've written 3 songs we are properly happy with in the last little while and have been practicing them a lot for when we go into Splitlevel Studio in Edinburgh in October to record a 3 track EP. So that's the main concern at the moment, and we're looking forward to having some recordings we are actually proud of to let people hear!

SFM- Sounds like a good plan. A slight change of topic; what is the writing process within the band? Does everyone contribute material, and sift through the best of it? Who writes lyrics?

Wilb- I write the majority of the music that will become a song. What we've found while writing the songs to go on the upcoming EP, is that I'll write all the music and put it into guitar pro. And in most cases i'll be a bit too keen, and overdo it. I send the files to Andbawr and he will say "It's good, but goes on for too long". Or just "Thats shit". He's like my guide through the writing. He helps me shift the songs into a good structure until we are happy. Leez and Jack are less picky, and unless they are really against a certain part of a song they are happy with what we give them. Only on very few occasions have they said they don't like what we've given them, but they dont usually hear the shit versions, just the finalized songs. When it comes to lyrics, I usually write them. I dont think any of the rest of the band care less about what I sing or when I sing it so long as it fits the song. Andbawr has contributed a few lyrical ideas here and there, though.

SFM- You guys are part of a huge wave of new thrash metal bands that have recently started rising from complete anonymity to relative success. What made you decide to become a retro-thrash band, even though there are so many already? And are there any fellow NWOTM bands you'd give a shout out to?

Wilb- I don't think we ever made a particular decision to become "Thrash", its just the way things turned out. We started as just a metal band. The very, very early stuff we were writing can probably not even be considered thrash. It just developed into a faster, thrashier thing. When we got Jack into the band, it secured it as a thrash band. He's really into his thrash and goes for the whole leather and denim thing. The fact that there are so many other new wave thrash bands isn't something to put anyone off becoming a thrash band, if anything its more of a reason to become one, to strengthen the scene. Its definitely a case of "The more the merrier". As for shouting out to new wave Thrash bands, the obvious ones are the likes of Evile, Warbringer, Gama Bomb, Havok, Hexen etc, they are running the show. But as for upcoming bands there is some really good stuff going on in Scotland at the moment, bands such as AMOK, Citizen Death, Black Talon, Circle of Tyrants and Thrashist Regime, some of which we've had the pleasure of playing with, are all worth checking out - So do it!

SFM- How far do you aspire to go in the business? Would you be content with being a cult-level band, or are you shooting for Big 4 levels of success, and such?

Wilb- We aspire to go as far as we can. As far as people want us to. I don't think the level of the success really matters to us. I dont think we'd want to be too big anyway, not to the point where we lose the "human quality", I'd always like for people to come up to me and be able to speak to me as opposed to being like "woah i dont know what to say to you!"- that level of fame doesn't really appeal to me. But just wherever we manage to get to will be fine, hopefully it will be a lot further on from where we are now, though! 

SFM- Also, do you think the band will continue to play the same kind of music throughout your career? Do you have any restrictions on experimenting or changing your sound?

Wilb - I think if our career was to span a really long time the music would have to change. I don't think it will be the same all the time, we've only been a band for 2 years and we've changed our sound within that time, so it would be a miracle if it didn't change over time. I dont think it will ever stray too far from Thrash though. We dont really have restrictions as such, just a comfort zone, and so long as we are playing within that comfort zone we're happy. 

SFM- For the heck of it- best band in the world?


SFM- Can't go wrong, haha. Well, that wraps things up here. To end this, any words for your fans?

Wilb - "Bullhouse" and "J" and "Thrashpigs".  

But seriously thanks for the support! Just keep turning up to our gigs and shit, it means a lot to us! And listen to the EP when it comes out haha. 
Also pick up some merch if you're keen enough. Keep supporting Disposable, spread the word and all that! 

Check out Disposable on Facebook and Youtube! 

Interview done by Surya "Cereal" Mandyam

Friday, September 9, 2011

Orgy of Destruction Weekly Series #6 - Energetic Krusher - Path to Oblivion

When it comes to thrash and the UK, there are always the same names that are mentioned first. Onslaught and Sabbat. Both of these bands are great and more than worthy of the praise, but there is another band from the UK who should be mentioned in the same breath as these two bands. That band is Energetic Krusher. While Onslaught was writing their brand of awesome thrash and Sabbat was taking a more progressive route, Energetic Krusher was brewing up some intense, brutal and extremely catchy music. "Path to Oblivion" is another album of many to go unheard of, which is too bad because this record could easily compete with much more known thrash albums out there.

So what can you expect from "Path to Oblivion?" You can expect to be destroyed by the vicious and crushing riffs that are accompanied by some Slayer-esque solos, stellar bass work, fast and precise drumming, and vocals that sound like a harsher Max Cavalera. The riffs on this record are phenomenal in every way. The faster ones will smack the listener across the jaw with the force of a sledgehammer. Both tracks, "Battle Cry" and "Yukk" clock in at under two minutes, but both songs hit with a serious impact. One second you've got your headbanging to a nice mid-paced riff, but then in an instant, the drums fire off like a machine gun and that riff increases it's speed tenfold. Another reason why the riffs on "Path to Oblivion" are amazing is because even the mid-paced riffs are unbelievably catchy. It will be impossible to not headbang when listening to tracks like "War Path" and "The Blades." The combination of the lethal vocals and mosh-inducing riffs is too much for any metalhead to resist. 

Despite Energetic Krusher's focus on undeniable brutality, they manage to accomplish one of the most essential things needed in their music. And that is having the ability to structure their songs in a way that each track stands out and grabs the listener's attention and keeps it throughout. "Lord of Darkness" starts off with a slow, heavy intro but then it turns into a steady gallop, and then a raging thrash riff enters the fray, sending the listener into a frenzy flying fists and merciless headbanging. "War Path" is another track that does this perfectly. The intro kicks the track off with a sinister clean intro accompanied by some nice bass lines but the the track becomes an instant mosher and never looks back from there.

So if you're in the mood to check out something that is guaranteed to get your headbanging and satisfy your needs for brutality, then check out "Path to Oblivion." The best tracks on this record are definitely "Lord of Darkness," "The Blast" and "War Path." 

Entrails - The Tomb Awaits

Despite it being the year 2011, over 20 years since revolutionary albums like "Left Hand Path," "Dark Recollections" and "Like An Ever Flowing Stream" were gracefully sent from the gods, the Swedish death metal scene is as strong as ever. Along with the old bands still going, there are a crop of new bands still proudly waving the flag of the masterful art that is Swedish death metal. Some bands want to stand out a bit by adding more crust or thrash elements to the traditional Swedeath sound, a la Bastard Priest and Tribulation. Some bands want a more savage and brutal sound, like Morbus Chron. And then there is Entrails. A band who plays their death metal like it's 1990 all over again. There is nothing ground breaking or genre-changing on their sophomore effort "The Tomb Awaits," but there is some great metal that should not be cast aside for a second. 

The "traditional" Swedeath formula of HM-2 pedal + D-Beat is present throughout this record, and there's no real better way to write music in this style then that. The tone on "The Tomb Awaits" is devastating. Each monstrous chord slams the listener like a tsunami and when the pace picks up, fists will fly and heads will bang. The absence of blast beats on this record is not hampering at all, in fact it's very beneficial. When Entrails decides to break away from the mid-paced madness and get in touch with their inner Slayer, the music is extremely tight and concise without any sloppiness. "Undead" and "End of All Existence" are perfect examples of how Entrails' use of tempo changes without blast beats makes for a raging good time.

Along with the earth shattering riffs, there are also some marvelous melodic sections to be found. Entrails manages to use melodies without taking things too far, basically meaning the music could not be confused with a Gothenburg band rather than a Stockholm band. The melodies are used very tastefully and suit the music perfectly. The melodic section in the song "Undead" blends beautifully with the heavy riffs behind it. In addition to the melodies, the solos found throughout this album are equally impressive. It almost seems as if the guitarists are channeling David Blomquist (Dismember) through their own guitars. 

At the end of the day, Entrails has delivered a great death metal album that is definitely worth getting your hands on. The best tracks here are "Crawling Death," "Undead" and "End of All Existence."

Be sure to check out Entrails on Facebook and like their page! 

Final Rating - 4.2/5 or 84%.

Thursday, September 8, 2011

The Horde - Nearing Something Special

There aren't many thrash bands that choose to focus on vikings and mythology when it comes to writing material, but then again, there aren't many thrash bands like The Horde. While most bands try to write the fastest, heaviest or most evil music, The Horde focuses on making aggressive, yet epic music. If you take the raw force of Exodus, mix it with the stylings of Iced Earth, and then stir that up in a viking helmet, you get "Thy Blackened Reign."

This record has a lot of things going for it. The riffs are crushing and heavy, and are perfectly complimented by the pummeling drums, as well as the vocals, which sound like a viking shouting battle commands as he prepares for battle. "Death Foretold" has a ridiculously catchy chorus that is sure to bring out the listener's inner savage. another positive on this record is the lead guitar work. The melodies and tremolo sections add more of an atmosphere to the tracks making music perfectly suitable for tracks with titles like "War God" and "Odin's Blood."

"Thy Blackened Reign," however, isn't perfect. At times some songs seem bland and fail to live up to other great tracks on the record. "Hell Beast of the Pale Frost" and "Into War We Ride" both fall victim to this. Both tracks lack anything remotely catchy, which is a shame because there are other tracks that portray just how catchy The Horde's material can be. There weren't any other major flaws, but one aspect of the music that could be improved is the structure. Most of the songs' structuring tended to be the same and predictable. A little more variety would definitely give some more depth to the music. 

Overall, "Thy Blackened Reign" makes for a fun listen and it should have no problem in getting the listener to headbang along. The best tracks here are "Death Foretold," "Odin's Blood," and "Vengeance For a King." The Horde is definitely on to something truly special with their brand of thrash, so keep your eye on them. 

Be sure to check out The Horde on Facebook and like their page!

Final Rating - 4/5 or 80%.

Tuesday, September 6, 2011

Morbus Chron - Savage Swedish Assault

Morbus Chron's debut full-length album, "Sleepers in the Rift" is a perfect example of why Sweden's death metal scene is by far, the best. Of course there are the old masters: Dismember, Grave, Entombed, Carnage, etc, but bands like Morbus Chron, as well as Bastard Priest, Tribulation and Repugnant are continuing to release top notch albums. "Sleepers in the Rift" establishes and maintains it's own sound without sounding like just another Dismember ripoff. 

This record is extremely varied and takes as many different turns as the crazy, yet brilliant artwork does. There are the heavy and monstrous riffs that everyone knows and loves of Swedish death metal, but there are also raging thrash type riffs, dark and eerie melodies, beautiful doom sections and terrific solos. 

Every track tends to stand out on its own and that is definitely the greatest strength of the album. Songs like "Red Hook Horror" and "Ways of Torture" get your headbanging and tend to thrash more than the other tracks, while songs like "Hymns to a Stiff" and "The Hallucinating Dead" mesmerize the listener with the sinister melodic passages and doom -laden riffs. Despite the fact that every track stands out individually, it's clear they are all Morbus Chron songs, and they all crush. 

Along with the great work done by the guitars, the bass gets its moments to shine on its own ("Creepy Creeping Creep") and the drums do their job exceptionally well. The vocals, however, are just as terrific as all of the riffs and solos found here. They are aggressive, evil and give Morbus Chron a darker and more savage sound than most bands. The vocals on "Creepy Creeping Creep" sound agonizing and suit the title quite well, especially the shouts at the end of this track.

"Sleepers in the Rift" is another great album to reach the metal world in 2011, and it definitely brings some serious competition to every other album to be released this year, of any metal subgenre. The best tracks here are "Creepy Creeping Creep," "Ways of Torture," and "Red Hook Horror."

Be sure to check out Morbus Chron and like their Facebook page to stay updated!

Final Rating - 4.4/5 or 88%. 

Saturday, September 3, 2011

Orgy of Destruction Weekly Series #5 - Mystik - The Plot Sickens

Another album for the fifth edition of the Orgy of Destruction series, and this time it's Mystik's "The Plot Sickens." Another amazing thrash album from the early nineties that seems to be relatively unknown. Mystik delivers a masterful album here, and it will not disappoint.

"The Plot Sickens" is the best power-thrash album that you may have never heard of. What is there not to like about this album? The vocals are coherent and command the music very nicely. The riffs are fast, catchy and will get your headbanging. And the leads are spectacular, from the shredding solos to the great melodies and harmonies found throughout the record.

The best part about this record is definitely it's undeniable catchiness that is created by the excellent combination of the riffs and the vocals. "Reflection of the Dying" has extremely catchy and memorable verses due to the great riffs and the vocals that appear to be a part of the riff itself. Don't be surprised if you find yourself singing along while banging your fist like a maniac. "Red Rum" is another track that is guaranteed to send the listener into an uncontrollable state of singing along, while simultaneously stamping their feet mercilessly along with the riffs and pummeling drums. 

Along with the riffs and vocals, Mystik was able to create some beautiful melodies and harmonies, stunning solos and chilling, yet brilliant clean guitar sections. "Commandment" switches between the heavy and fast distortion guitars and the acoustic/clean passages throughout, while maintaining all of the catchy material that makes this album so fantastic. All of the solos are magnificent, and add another layer to the already great music. "Death to All (Peace at Last!)" and "Commandment" both feature terrific solos that are capable of getting any listener to shred on their air guitar. 

There isn't much more to be said about this album, other than it is too good to be overlooked. This album is just another victim of many, amazing albums to be undiscovered, so this album receives the highest recommendation. Download it or track down the actual CD copy, but get your hands on this album, you will not regret it. There are absolutely no bad tracks but the best of the best are definitely "Reflection of the Dying" and "Red Rum."