Tag Archives: Revenge

Revenge – Behold.Total.Rejection

Revenge - Behold.Total.Rejection

Revenge [Canada]
Full Length
Season of Mist/Underground Activists
Black/Death Metal

I started the year being jaded with the whole black/death metal thing, but over the course of 2015 there have been some enjoyable releases of the genre, such as Archgoat and more recently, Triumvir Foul‘s debut full length. Unexpectedly, I am also ending the year with the genre, with Canadian chaotic horde Revenge‘s latest opus, Behold.Total.Rejection.

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Album Review: Infernal Curse – The End Upon Us

Infernal Curse - The End Upon Us

Infernal Curse [Argentina]
The End Upon Us
Iron Bonehead Productions
Black/Death Metal

South America proves their barbarism again, as this year sees Argentina spits forth the new Infernal Curse EP, The End Upon Us. 2 years after their highly acclaimed debut full length, Awakening of the Damned, the war and chaos-hungry trio finally release more new material to satisfy the hunger for more bestial black/death metal.

The band hardly wastes any time in unleashing their terror upon the listener, and after a short intro on the title track The End Upon Us, things get ugly pretty quickly. Those expecting a nice traditional death metal release can expect otherwise, as the band quickly goes into war metal mode as the combination of the riffs of Nocturnal and the relentless, bestial drumming of Bestial Offensor quickly brings Ross Bay Cult legends Blasphemy to mind, along with similar acts such as Proclamation. There are even some Conqueror and Revenge resemblances, particularly in the chaotic and formless leads that Nocturnal throws in. The high amounts of echo placed upon his vocals also help to provide much of the mayhem on the album, not unlike that of the early works of Deiphago or Nyogthaeblisz.

One who knows the barbaric and filthy style of Ross Bay Cult will already know where this is going, but on The End Upon usInfernal Curse includes some slower moments to further reinforce the unease and tension in the air, bringing in some proto-black metal elements of Celtic Frost and the likes with that sense of impending doom.

The thing that made The End Upon Us such an enjoyable album as well is in the rather high mix of the bass of Deicidal Abominator, providing that aggressive and sinister low-end growl throughout the album. With the material that is on this release, Infernal Curse once again proves why they are one of the leading bestial black/death metal acts out of South America, and The End Upon Us will definitely leave fans of war metal craving for more after its short 4 track onslaught.

[xrr rating=4.5/5]

Infernal Curse on the internet:
Iron Bonehead Productions

Album Review: Eskhaton – Worship Death

Eskhaton - Worship Death

Eskhaton [Australia]
Worship Death
Full Length
Chaos Records
Black/Death Metal

Oceania has had it’s fair share of bestial black/death metal, with not only legends such as Bestial Warlust, but also bands like DiocletianWitchrist and Heresiarch bearing the torch of the belligerent and destructive genre. As though the brutality that these bands weren’t sufficient to cause major head trauma, Melbourne spits forth yet another band of similar veins in the form of Eskhaton, with their sophomore full length album Worship Death.

Eskhaton certainly doesn’t hold back when it comes to dishing out death, and the chaos begins right from opening track Nekrochant, with the formless chaos sounding rather senseless and meaningless to the untrained ear. But instead this mindless destruction got me extremely excited, knowing that this is gonna be one hell of a war metal experience. The intensity that is on the album quickly reminds one of Canadian war metal horde such as Revenge and Conqueror, though the resemblance with the former is stronger what with the chaotic lead guitars that are thrown about throughout the album and that somewhat grindcore violence that is prevalent from start to end.

The cavernous atmosphere, conjured by the vocals of Invokocide even reminds one of the exploits of Heresiarch or Diocletian, complete with the battery of drummer Hammerkill and his James Read-style of drumming. The bestiality and somewhat ritualistic moments on the album such as the droning riffs also brings about comparisons to Archgoat or Mitochondrion, with that enchanting and entrancing style that is incorporated into Eskhaton‘s songwriting.

There hasn’t been much buzz in the war metal arena in the past few months, save for the recent Nechbeyth and Heresiarch EPs, but Eskhaton‘s Worship Death has managed to once again reignited that flame and passion for war metal. Worship Death is just 45 minutes of non-stop lambasting aural assault, and one that will perhaps fill the insatiable appetites of war metal maniacs.

[xrr rating=5/5]

Eskhaton on the internet:
Chaos Records

Album Review: Nechbeyth – Coerce Creed

Nechbeyth - Coerce Creed

Nechbeyth [Singapore]
Coerce Creed
Iron Bonehead Productions
Black/Death Metal

Chancing upon Nechbeyth‘s debut full length album Blood. Axis. Domination in 2011 left me rather surprised (and breathless), not knowing until then that such bestial war metal existed in Singapore. This year marks the band’s return with yet another round of aural onslaught with their brand new EP, Coerce Creed.

The war themes that the band presented on Blood. Axis. Domination are still strongly present, as the intro to Coerce Creed goes to show with the sounds of nuclear warfare going on and a spoken sample detailing the consequences of the nuclear bomb, leaving an image of destruction and apocalypse in the listener’s mind. The first sounds of violence on KSMT Oath that hit the listener quickly reminds one of classic Canadian bands such as Conqueror and Revenge, though the musical style of Nechbeyth leans closer to the latter, especially with the chaotic riffs of guitarist Zavael and the seemingly random pick scratches that pierce through the backdrop. The buildup on KSMT Oath also reminds one of the classic War Cult Supremacy, slowly building the climax before letting all hell break loose on Ruination Conquest.

Unlike the rather formless style that Nechbeyth took on Blood. Axis. Domination which was rather reminiscent of Deiphago‘s older material or Nyogthaeblisz, songs like Ruination Conquest lean more towards the style of bands such as Black Witchery, what with that buzzing tone of guitarist Zavael and the frantic punishing of the drum kit by Narsamum.

Nechbeyth‘s transition between styles has been rather obvious between Blood. Axis. Domination and Coerce Creed, but this has definitely not been something negative, with the band managing to retain that sense of urgency and intensity throughout the entirety of Coerce Creed. Fans of the Ross Bay Cult, or to make a comparison closer to home, bands like Zygoatsis, would certainly enjoy this bestial as fuck release.

Nechbeyth on the internet:
Iron Bonehead Productions

Heavy Metal News – July 21, 2013

METALLICA: Full ‘Through The Never’ Theatrical Trailer Posted Online

Reposted from Blabbermouth.net

The full theatrical trailer for “Metallica Through The Never”, filmmakerNimród Antal’s captivating 3D movie featuring one of music’s most enduring and iconic bands, can be seen at this location. Also available is the official posted for the film.

IMAX Corporation and Picturehouse have announced that “Metallica Through The Never” will be digitally remastered into the immersive IMAX 3D format and released wide in North America exclusively into IMAX theatres for a one-week engagement starting Friday, September 27. The film will expand into additional theatres on October 4.

Starring METALLICA, a cast of thousands of their fans and breakout starDane DeHaan (“Chronicle”“The Amazing Spider-Man 2”),“Metallica Through The Never” is written and directed by award-winning filmmaker Nimród Antal (“Predators”“Kontroll”) and produced by former IMAX film producer Charlotte Huggins (“Journey To The Center Of The Earth”). The film marries groundbreaking footage and editing techniques with a compelling narrative, in which a band crew member (played by DeHaan) is sent out on a mission duringMETALLICA’s roaring live set in front of a sold-out arena. While on this mission, he unexpectedly has his life turned completely upside down.

The IMAX 3D release of “Metallica Through The Never” will be digitally remastered into the image and sound quality of The IMAX Experience with proprietary IMAX DMR (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

Speaking to Collider.comDeHaan stated about “Metallica Through The Never”: “It’s, in a way, like a 3D concert movie but there’s also this narrative that ties together all the footage. It’s gonna be, first of all, really rock and roll and really ‘METALLICA,’ for lack of a better word; they don’t hold back at all. But during the concert, I basically go on this trip as a roadie for the band and I pretty much literally have to go through hell and back to take it back to them, and all of this is going on during the concert, so it all ties together really kind of beautifully and uniquely. It’s unlike anything that I’ve ever seen before; it’s almost like a concert movie meets ‘The Wall’ meets METALLICA.”

METALLICA drummer Lars Ulrich cited the 1976 LED ZEPPELIN movie“The Song Remains The Same” as a major influence on “Metallica Through The Never”, explaining to Classic Rock, “There are four members in LED ZEPPELIN, four members in METALLICA, it’s a full-length movie, and there’s a lot in this film that does not take place onstage. The major difference is that the stuff that takes place offstage in the METALLICA movie does not feature any members of METALLICA. It’s two separate worlds — a METALLICA show and a story that unfolds in a parallel universe — and at some point they intertwine.”
The ZEPPELIN film interspersed concert footage with fantasy sequences starring each member of the group.

The concert sequences for METALLICA’s movie were shot last August at two shows in Vancouver, Canada.

Ulrich told The Pulse Of Radio a while back that making a movie has been one of the most daunting challenges METALLICA has ever taken on. “It’s sort of fun, it’s intimidating, it’s a little overwhelming, to be honest, because it’s a whole different league,” he said. “You know, when we go down to [the METALLICA headquarters in San Rafael, California] and record and make a record, it’s kind of — you know, we can manage the size of that. [laughs] When you’re talking about doing, like, a 3D movie that you’re gonna, like, play all over the world, that’s a little bit of a bigger undertaking, so obviously we’re treading a little more carefully.”


SEPULTURA: New Album Title Announced

Reposted from Blabbermouth.net

Brazilian/American thrashers SEPULTURA have set “The Mediator Between The Head And Hands Must Be The Heart” as the title of their new album, due in October via Nuclear Blast Records.

Although it was inspired by Fritz Lang’s classic 1927 movie“Metropolis”, the CD is not a concept album or a soundtrack like its precedessors “Dante XXI” (based on “The Divine Comedy”) and “A-Lex” (based on “A Clockwork Orange”).

“The Mediator Between The Head And Hands Must Be The Heart”was tracked over a 40-day period at producer Ross Robinson’s (KORN,LIMP BIZKITSLIPKNOT) studio in Venice, California and will be mixed and mastered by co-producer Steve Evetts, who previously worked withSEPULTURA on the “Nation” (2001), “Revolusongs” (2002) and“Roorback” (2003) albums, in addition to having collaborated with Rosson a number of other projects in the past.

The follow-up to 2011’s “Kairos” will contain nine songs, including “The Age Of The Atheist”“Tsunami”“The Vatican” and “Trauma Of War”, and two bonus tracks (covers of DEATH’s “Zombie Ritual” and a song from the Brazilian group CHICO SCIENCE E NAÇÃO ZUMBI). The CD will also feature a guest appearance by former SLAYER drummerDave Lombardo.

Commented guitarist Andreas Kisser: “I was inspired by a phrase which is the main message of the story: ‘The mediator between the head and hands must be the heart’ to express what we are saying on the lyrics.

“In the movie, a crazy millionaire wants to transform a robot into a real person. That’s kind of the opposite of what we live today. More than ever we are robotized, through the worldwide web, Google glasses, chips under our skins and the globalized slavery our society suffers nowadays. The phrase points to the heart as being the human factor who keeps a man, a man, not a robot. The heart beats with freedom of choice, we have to think by ourselves to create a real world, not a matrix. ?

“Being a novel written in the early 1920s, it’s almost prophetical. It helped us to put the ideas together for the lyrics to express what we see today.

“I live in São Paulo, Brasil, one of the big metropolis in the world with more than 20,000,000 people living and working in it. I know how it is to live in daily chaos, our music reflects a lot of that feeling.

“The album is brutal, fast and straight to the point, I feel this is the bestSEPULTURA ever, no bullshit.

“To work with Ross Robinson again was a privilege, one of the best producers out there. He has a strong connection with nature, the human heart, with life in general.

“We did an album that is alive, no fake studio tricks, we were jamming together in the room exploding in an energy so strong you could grab it.

“The heart will never stop beating for mankind. We are no robots, we are pure natural energy and that’s worth fighting for. We’re not slaves; I have a pulsing heart!”

SEPULTURA’s upcoming CD will mark the first time the band will have recorded an album outside Brazil since “Against”.

The reunion between SEPULTURA and Robinson was first suggested byMonte Conner, the former Roadrunner Records A&R chief who is now the head of Nuclear Blast Entertainment, a U.S. partnership withNuclear Blast owner Markus Staiger.

Robinson produced SEPULTURA’s classic “Roots” album in 1995. Released in February 1996 by Roadrunner, it was the band’s last studio album to feature founding member and vocalist Max Cavalera.


SOULFLY: Second Trailer For New Album

Reposted from Blabbermouth.net

A new two-minute trailer for SOULFLY’s ninth album, “Savages”, can be seen at this location. Due in October via the band’s new label home, Nuclear Blast Entertainment, the CD was produced by Terry Date, who is known for his work with such acts as PANTERADEFTONES andSOUNDGARDEN, among many others.

Date previously mixed SOULFLY’s “3” (2002), “Prophecy” (2004) and“Dark Ages” (2005) albums, but has never produced any of the group’s CDs.

The drum tracks on the new SOULFLY CD were laid down by Max’s 21-year-old son, Zyon Cavalera, who joined the band as its touring drummer for its recent rampage through North America.

Zyon previously played with SOULFLY during the band’s tour of Brazil in February 2012.

It is Zyon’s unborn heartbeat that can be heard during the intro ofSEPULTURA’s classic song “Refuse/Resist”, which appeared on the band’s RIAA-gold-certified “Chaos A.D.” album, released three years before Max’s departure from the group.

Drummer David Kinkade (BORKNAGARARSISMALEVOLENT CREATION), who played on SOULFLY’s eighth album, “Enslaved”, left the band last October in order to focus on his personal life.


REVENGE signs to Season of Mist Underground Activists

Season of Mist is proud to announce the signing of Canadian Black Metal chaos extremists REVENGE for the release of the band’s forthcoming fifth album, to be recorded in 2014.

During their 13 year history REVENGE has become one of the most prevalent bands in the Canadian Black Metal underground. Utilizing militant imagery, a strong ideology, and an extremely confrontational live show, the band has built a large die hard following worldwide amongst the fringe elements of the Black Metal, Death Metal, and Noise scenes.

REVENGE has been called “incomprehensible non musical chaos” by some and “total genius” by others. These polarizing views about REVENGE have been a constant theme during most of the band’s existence and it doesn’t look like things will change any time soon. The band refuses to betray their original intent and continues to maintain a lone wolf doctrine, existing strictly on their own terms as they have from day one. REVENGE forges ahead with full force, looking down with disdain on all who question their approach of total hatred towards the swine known as mankind.

Not known for long winded statements, announcements, or explanations, REVENGE main man J. Read’s only comment when asked about the band’s new partnership with Season of Mist was, “The line has been drawn. Choose your side”.


DEMONICAL Reveals New Album Tracklisting And Release Date

Swedish death metal band Demonical have released the following statement:

“Recorded at Necromorbus Studios in Stockholm and to be released on September 20, 2 013 , as a limited slip case digi-C D, standard jewelcase CD and limited gatefold-LP, “Darkness Unbound” is clearly our most sinister, vicious and dark work up until to d ate.

We are confident that “Darkness Unbound ” will be an important milestone not only for us as a band but also an album that will have a certain impact on the current death metal scene and especially the Swedish old-school wave.

The artwork and visual concept of the album follows the same somber path as the music making it a solid entity of perpetual death metal darkness.”


“Darkness Unbound” tracklisting:

I. Darkness Unbound
II. The Order
III. An Endless Celebration
IV . Contempt and Conquest
V. King of All
VI. The Healing Control
VII. Hellfire Empire
VIII. Words Are Death
IX . Death crown
X. The Great Praise
XI. World Beyond (Kreator cover) *
XII. Burned Alive (re-recording) **

* bonus track on the limited digi-CD and LP
** bonus track on the limited digi-CD


For more news and updates, head down to http://heavymetaltribune.tumblr.com/

Mid-Year Recap

It’s been helluva year so far, and even though it’s only been half a  year, there have been many good releases, both from genres that I love and from genres that I hardly listen to. As well, there have been quite a number of disappointments. Below we shall list a couple of noteworthy releases over the past six months (in alphabetical order):

Albatross/Vestal Claret – The Kissing Flies/Black Priest (Heavy/Doom Metal)

What a release. Albatross‘ debut EP, Dinner is You was quite a hard one to get into, but this, this captivates the listener right from the beginning with its powerful riffs, vocals and absurdly good songwriting. And what better way to end off the split with Vestal Claret‘s Black Priest, blasphemous and occult, made even more beautiful with the vocals of Phil Swanson.

Anhedonist – Netherwards (Death/Doom Metal)

Death/doom never sounded so beautiful until Anhedonist‘s debut full length album, Netherwards. Absolutely crushing, it sucks all sense of light and hope out from the listener, leaving him to fall into complete darkness and desolation as the album progresses, further displaying the amount of thought that has been put into the release.

Belligerent Intent – Seven Are They (Black/Death Metal)

Seven Are They is a natural progression for Australia’s Belligerent Intent from their 2010 EP, Descending to Abaddon. Same intense, blasphemous lyrical contents and vocal works of Craig, yet more brutal and technical than ever, with the introduction of axe-wielding duo Mike and Luke. And how can one ever miss the battery of Matt?

Binah – Hallucinating in Resurrecture (Death Metal)

This young UK death metal trio bursts into the scene with their debut full length album, Hallucinating in Resurrecture, barely 1 year after their formation. But the songwriting that is present here is mature and complex, and the crushing music and oppressive atmosphere would easily leave one in smithereens in no time.

Essenz – Mundus Numen (Black/Doom Metal)

Germany black/doom metal trio Essenz releases their follow up to their 2010 debut this year, Mundus Numen and easily displays how black/doom metal should be done. Equally captivating and haunting, the band manages to fuse elements of both genres into one seamless one that they can easily call their own. As if black metal or doom metal weren’t hopeless enough in themselves.

Hexen – Being and Nothingness (Progressive/Thrash Metal)

Following the many other excellent modern thrash metal counterparts such as VektorHexen shows that they are also equally capable with their new album Being and Nothingness, and boasts a faster, more complex and overall more satisfying listening experience. Listen out for the neo-classical elements that the band has put into this release.

Nephelium – Coils of Entropy (Brutal Death Metal)

Nervecell has certainly become the face of UAE extreme metal. But Nephelium are here to tilt the equilibrium, and Coils of Entropy boasts some of the most technical and brutal performance out of the region so far and is easily one of my favourite brutal death metal releases, a genre that until this year I have consciously avoided.

Pseudogod – Deathwomb Catechesis (Black/Death Metal)

Until this album, metal from Russia has been something of a mystery to me. But everything on Pseudogod‘s debut, Deathwomb Catechesis is perfect. The monstrous vocals, the crushing guitars, the spacey atmosphere, down to the creepy yet somewhat majestic album artwork of Antichrist Kramer.

Revenge – Scum.Collapse.Eradication (Black/Death Metal)

War metal masters Revenge returns with their long awaited follow up to Infiltration.Downfall.Death with Scum.Collapse.Eradication this year. The departure of Pete Helmkamp was certainly a bummer, but nothing was gonna stop James Read from doing what he had to do. Scum.Collapse.Eradiccation follows in the steps of its predecessor, so if you liked Infiltration.Downfall.Death, this one won’t be a disappointment.

Sigh – In Somniphobia (how-the-fuck-should-i-classify-this metal)

And of course, how could one forget Mirai and co.’s new release, In Somniphobia? In typical Sigh fashion, this album once again sounds nothing like its predecessors. After the overly dark Scenes from HellIn Somniphobia presents a somewhat light-hearted feel, with the indulgent usage of Dr. Mikkanibal’s saxophones, though evident from the album artwork, the mind of the band is still as sick and twisted as ever.

Album Review: Revenge – Scum.Collapse.Eradication

Revenge [Canada]
Full Length
Nuclear War Now! Productions/Osmose Productions
Black/Death Metal

Canada war metal band Revenge is one band that one either absolutely loves or hates. James Read and the projects that he has been involved in over the years have quickly become some of my favourite bands, including the excellent Conqueror, with his trademark drumming style being chaotic yet engaging at the same time. Over the years, Revenge has honed their musical style, and 2008’s Infiltration.Downfall.Death was perhaps my favourite release by the band thus far. Before the release of Scum.Collapse.Eradication, the departure of Pete Helmkamp (another one of my personal favourite musicians) left me wondering how the album would turn out.

Fortunately, that did not cause much of a difference or diversion from the path that the band has set up with the previous release. Apart from the album artwork and the songtitles that were stylistically similar to Infiltration.Downfall.Death, the similarities extended to the musical style on Scum.Collapse.Eradication as well. The album begins with the doom-paced intro of Us and Them (High Power), and this sounds like a  continuation of the previous album. After numerous crazed shrieks and growls at the background, all hell breaks loose Revenge style as the listener is hit by a barrage of the chaotic lead guitars of Vermin. James Read’s drumming style and muffled vocals are instantly recognisable, and the music is often punctuated by that inhuman guttural growl/burp at the background to further reinforce the chaos that is already abound.

Of course, with Revenge, one does not expect much variation or flamboyant technical wankery, and one familiar with the band would immediately expect nothing but straight out aggressive and chaotic blackened death metal in the veins of other similar Canadian war metal acts. The consistency in the band’s songwriting is especially evident in the lead guitars of Vermin, which at times sound so similar that one wonders if these were recycled off his works on the previous album, though the intention of these solos are clear – with the emphasis on the destruction and lawlessness of the music. Things are at times so predictable that one who has been previously exposed to albums like Infiltration.Downfall.Death can anticipate what comes next and while this typically is the pitfall of most albums, Revenge more than makes up with it through the sheer aggression and energy one feels when listening to the album.

War metal is an extremely interesting genre. Despite the large number of bands that are often lumped together in the genre, each somehow manages to craft out a niche and unique sound of their own, and Revenge is no different. Scum.Collapse.Eradication is the culmination of the band’s 4 years of effort, and the 4 year wait has certainly been well worth it, proving why Revenge remains one of the household names of the genre.

Revenge on the internet:

©2012 Heavy Metal Tribune | Hong Rui