Featuring former Will Haven guitarists Anthony Paganelli and Lance Jackman, current Chelsea Wolfe drummer Jess Gowrie, and bassist Lennon Hudson, post-hardcore/sludge collective Horseneck proudly unleashes the sophomore full length “Fever Dream” which is destined to impress you with its raw energy and wild creativity.
“Barbra Streisand” is simply irresistible with major groovy guitars leading the way to a heavy yet absolutely accessible sonic realm enriched by a mix of somber vocal harmonies and a fun rocker delivery courtesy of rock ‘n’ roll pioneer Gary U.S. Bonds.
On “Pen15” there’s a higher dose of rebellious energy due to the savage screams and the bold noise elements cleverly embedded within the galloping riffage resulting in another memorable groovy track.
The mood gets darker on “Happily Level Lafter” emphasizing a pale yet essential melodic flair while the sludge inspiration is rather palpable generating cohesive rhythmic grooves which deserve to be played loud.
“Red Curtain” will certainly conquer your heart as guest vocalist Jules Bee from Sea Of Bees delivers soulful vocal harmonies accompanied by comforting fuzzy melodic guitars that perfectly enhance the song’s inner melancholy which continues to shine even through the heavier rhythmic patterns.
“Sleeping With Silverfish” focuses on monumental rhythmic grooves with an overdose of harsh sludge dynamics matched by the violent screams but also showcases a melodic and experimental approach featuring enticing jazzy saxophone and bittersweet clean vocals.
“Mr Funny Guy, Full Of Bullshit” wins for best title of the year and the major groovy rhythmic section delivers some mighty heavy blasts enriched by the delightful eclectic guitar leads and the psychedelic tinged melodies.
Listening to “Fever Dream” is a truly entertaining and aptly feverish experience as Horseneck already showcases massive skills blending passionate melodies and crazy catchy grooves that you won’t forget easily.
New Zealand quartet Devilskin is getting ready to release the new album “RED” on April 3rd and we had the pleasure to chat with bassist & founding member Paul Martin!
The Offering: Your fourth album “Red” will be released in April, what can you tell us about the songwriting and concept behind this upcoming release?
Paul Martin: We don’t seem to have much problem coming up with ideas, we still have songs we play that didn’t make the cut for our first two albums and we demoed around 30 tracks for RED. It came down to choosing the best and most relevant songs. We really want to make a statement with this album and give the listener an immersive experience.
TO: Did you have a specific music vision when you started working on this album?
PM: Yes we did, and once we started the recording process and each song took on a life of its own the whole vision/theme became that much more focused and important.
TO: You released “Corrode” as the first single, what made you choose this song to represent the album?
PM: “Corrode” is a powerful song with an undeniable hook. It’s staunch and its proud. We didn’t earmark it for a single at first because we thought it would be too heavy but it really stood up for attention once we had recorded it. It’s a powerful message about being overcome by daily life and feeling the depression sinking it but the song is saying it’s okay to ask for help.
TO: For you how important is to deliver a particular message through the lyrics?
PM: I think lyrics are crucial, when your soul is bared is when you are most honest. I think people strive to find honesty these days. It’s the direct language your listener understands, framed with your emotions and presented with heartfelt music it’s hard to ignore.
TO: Thinking about when Devilskin formed back in 2010, what inspired you to start a music career?
PM: We were all playing in different bands (except Nic who was still at school) and we were all big fans of each other’s work. We had no intention of making a career out of the band when we first jammed. It was a real ‘no expectations / no promises’ jam but we ended up writing a couple of our biggest songs that night and we decided to keep it going, started touring and things grew pretty organically. We never had a grand scheme to take over the world or anything, we just loved each other’s talents and wanted to collaborate and write songs together.
TO: As the music industry keeps on changing do you think social media truly helps bands to reach a wider audience?
PM: Most definitely! Social media has such an important role in today’s music. Being able to reach so many people so quickly and the whole phenomenon that is virality is a real game changer. Music could not continue on such a big level without social media.
TO: You performed live at many awesome festivals and with many successful bands such as Halestorm, what’s your favorite live experience so far?
PM: We have had so many! Touring Europe with Halestorm was amazing. EVERY show was spectacular and such lovely people. Download UK 2017 was insane, we had a huge crowd that just went nuts! Download in Australia was fantastic as well., The Whiskey-A-Go-Go! Too hard to pick one however playing in front of 11,000 people supporting Disturbed the day OUR album debut at Number 1 on the NZ charts has to be a highlight that was such a buzz, we have been very lucky to play some brilliant shows.
TO: In April you will start a UK & Europe tour, what can fans expect from your live shows?
PM: Big guitars, Jennies insane voice! We love to watch jaws drop when she slips from sweet melodic singing to bone crushing death metal growls. We always bring lots of energy and always strive to make the shows as interactive as possible.
TO: Being based in New Zealand would you say it can be challenging to tour in other countries?
PM: Yes, our geographical situation means we have to travel a LONG way to get anywhere. That’s why we are determined to make the most of every opportunity!”
TO: Do you have other touring plans this year?
PM: Still working on those but we will let you know that we really want to get to the US this year!
TO: What are your expectations for the future of the band?
PM: Keep touring, keep writing, keep recording and keep having fun! Pretty simple ?
TO: Good luck with everything and thank you for the interview!
PM: Thanks so much for the support, hopefully we will see you in your town soon!
Featuring vocalist/guitarist Hamish Glencross (ex-My Dying Bride, Vallenfyre, Solstice), drummer Shaun Taylor-Steels (ex-My Dying Bride, Anathema), and bassist Bob Crolla, Godthrymm invite you to enter the uncompromising doom sonic realm of the monolithic debut album “Reflections”.
“Monsters Lurk Herein” begins with intensely melancholic guitar melodies but soon everything gets dramatically darker with the ominous weight of the massive guitar riffs and the grave emotional quality that clearly manifest the band’s mighty doom metal vision as well as an exquisite gothic flair.
“Among The Exalted” will inevitably evoke a profound sense of pain & misery as the excellent guitar work effortlessly shifts from elegantly nostalgic melodies to ravenous riffage accompanied by the perfect dosage of grim growls and you can constantly perceive the glorious influence of ‘90s UK doom.
“We Are The Dead” dwells within a realm of pure desolation meticulously crafted by an overdose of gelid gothic tinged guitar melodies ultimately leading to a poignant solo and passionate surprisingly catchy vocals that might get stuck in your head.
The gothic splendor of “The Light Of You” naturally emphasizes the melancholic tonalities in fact the vocals express tormented feelings and the refined slower guitar melodies will often steal the spotlight while the rhythmic section confidently follows a significantly heavier & groovy classic doom approach.
The obscure aura of “Cursed Are The Many” demands cohesive extra heavy guitar riffs and the consequent sense of absolute despair lingers through the monumental rhythmic segments and the impeccable mournful guitar melodies.
Needless to say the masterminds behind Godthrymm are experienced and talented musicians so while “Reflections” is just the beginning of a new darkened musical chapter it already showcases an intriguing creative force and an authentic devotion to doom metal.
Japanese death metal band Defiled has created a fierce sonic assault on the latest release “Infinite Regress” so you better get ready to headbang relentlessly while listening to this album.
“Divide and Conquer” drags you straight into a chaotic sonic realm as the true death metal spirit feels absolutely dominant through the galloping rhythmic patterns confidently built by pummeling drums and crunchy guitar riffs.
While maintaining a blistering groovy approach “Tragedy” stands out for the darkened mood and the technical guitar leads that often enrich the main hostile rhythmic ensemble diligently following the infamous aggressive death metal formula.
The insane rhythmic core of “Masses In Chaos” certainly matches the title as the intense guitar riffs lead to ravenous grooves that just seem unstoppable and the cavernous growls manage to add some extra raw energy.
“Aftermath” might be a short track but you cannot overlook the unrestrained riffage which combines claustrophobic vibes and a belligerent grindcore attitude leading to a groovy super heavy momentum.
As you would expect “Ignorant” continues to rely on cohesive frantic rhythmic blasts and vicious growls ready to trigger a moshpit but there are some interesting atmospheric twists.
On “Slaverobot” atmospheric layers add some cool ominous vibes to the massive spiteful rhythmic march that still follows a malevolent fast sonic pathway.
The title track offers cold doom tinged guitar melodies which successfully brings some diversity within the furious combo of unrestrained riffs and wrathful drum blasts.
Overall Defiled stay true to ferocious old school death metal dynamics therefore it’s not surprising to hear how on “Infinite Regress” they manage to keep it brutal with evident enthusiasm and confidence.
American quartet Seven Spires takes it to the next level with the ambitious sophomore album “Emerald Seas” which features a theatrical fantasy inspired concept and fascinating symphonic metal soundscapes.
“Ghost Of A Dream” relies on a refined melodic approach with delightful guitar phrases that will ultimately lead to glamorous soloing and dazzling vocals surrounded by detailed symphonic arrangements that definitely highlight the epic aspects.
“Every Crest” delivers powerful groovy rhythmic dynamics with a significant heavier momentum and even some vicious growls yet the melodic soul feels once again rather dominant as the passionate vocal harmonies and the vibrant guitar work naturally flow through the elegant symphonic tapestries.
“Drowner Of Worlds” sounds a bit different and is destined to become a favorite track as the darker mood is deeply emphasized by the gothic flair of the solemn atmospheric arrangements, the decadent piano melodies and the intense blackened growls plus the rhythmic patterns confidently build faster borderline ominous grooves.
“Silvery Moon” follows a ballad style as the mellow piano melodies and the subtle atmospheric layers become essential accompanied by a particularly charismatic & heartfelt vocal delivery and enriched by some polished guitar licks.
“Fearless” returns to a heavier darkened instrumental ensemble so guitars acquire crunchy tonalities and the sinister growls emphasize the blackened nuances while a fragile melodic essence emerges through the gothic sonic realm with understated symphonic arrangements and soft vocal harmonies.
“The Trouble With Eternal Life” is full of triumphant power metal inspired grooves spiced up by fancy guitar soloing and sophisticated symphonic textures that constantly embellish the soothing melodies and perfectly complement the charming vocals.
Seven Spires definitely showcase their talented musicianship throughout the album and “Emerald Seas” holds the necessary enthusiasm and catchy vibes to get on your radar especially if you’re a lover of symphonic metal.
Dark metal collective Deathwhite has chosen to remain anonymous so far nevertheless the sophomore full length “Grave Image” is destined to reach a wider audience with compelling melodic textures and a profound sense of despair.
“Funeral Ground” focuses on cold guitar tonalities to express dismal emotions through delicate harmonies and heavier doom tinged riffage accompanied by a soulful vocal delivery that enhances the extremely somber mood.
On “In Eclipse” the rhythmic section diligently builds memorable grooves with sharp bass lines and catchy guitar riffs again evidently inspired by classic doom nuances and the mood feels quite emotional and nostalgic especially due to the presence of calmer guitar melodies.
The title track marks another memorable moment depicting a dreamy melancholic sonic realm with passionate vocals and a wide range of refined guitar progressions that shift from gentle melodies to charismatic yet absolutely sorrowful leads.
The bold guitar driven grooves on “Among Us” sound really catchy but also manage to maintain a darkened sense of desolation that is further emphasized by the graceful vocal harmonies and the scattered ethereal arpeggios.
“Plague Of Virtue” follows a similar groovy pathway as guitars continue to hold a major role in the creation of a heavier momentum skillfully blending melo-death and doom elements that will ultimately embrace the accessible melodic essence of the catchy chorus.
The fascinating final track “Return To Silence” might feel darker and utterly bleak with loads of elegant often heartwrenching melodies that will inevitably move the listeners yet there is still a fair dosage of engaging heavier rhythmic dynamics.
Driven by sincere emotions and melodic gloom Deathwhite successfully evoke an overwhelming melancholia throughout “Grave Image” which feels so comforting during these cold winter nights.
Renowned musicians Tim Sköld and Nero Bellum have started an intriguing artistic collaboration with the new project Not My God and the eponymous debut album features a darkly experimental electro/industrial approach.
“Fiction” was released as first single and in fact perfectly represents the darkened atmospheric composition that is a key element of the whole album and the vocals seem to float through the dense darkened electro layers like hallucination induced voices in your head.
“Until The Pain Is Gone” belongs to a monochromatic sonic realm carefully built by multilayered electronic tapestries that in the memorable chorus evolve into industrial oriented rhythmic bursts.
“Snowing Discord” flows like a distorted daydream and sounds like a dark lullaby as some glowing melodic keyboards are added to the main blurry atmospheric layers accompanied by a bittersweet laid back vocal delivery.
“Birthright” has a stronger rhythmic core with heavier and increasingly darker industrial elements that are particularly amplified by the subtle groovy chorus and naturally embrace the dancey electro beats.
“Nevermore” could induce a trance like state with an addictive electro rampage that relies on a wide array of wild distorted sounds and trippy rhythmic variations, an ideal backbone for the intense grim vocals.
“Right Now” manifests some cool post-apocalyptic vibes as the moody electro arrangements successfully keep a constant darkly fervent rhythmic ensemble that ultimately leads to dystopian industrial grooves.
“Cold Black” matches the title as the gelid atmosphere is characterized by a tenebrous flair that generates loads of creepy sounds following a perennial gloomy rhythm and vocals seem to lurk in the dark.
This is just the beginning for Not My God but both Tim Sköld and Nero Bellum are experienced artists in the underground industrial scene so it’s not surprising to see that this debut album already showcases a vibrant creative force generating a murky & catchy collection of songs.
Spanish symphonic metal band Diabulus In Musica have been around for a while and through the years they have perfected a catchy & majestic sonic formula that fully comes to life with the theatrical new full length “Euphonic Entropy”.
The symphonic wonderland embodied by “Race To Equilibrium” features sumptuous orchestrations and a fiery rhythmic rampage as guitars deliver solid catchy riffs to accompany the scattered darker moments amplified by a faster tempo and aggressive growls nevertheless the lavish operatic vocals & choirs are always in the spotlight.
“The Misfit’s Swing” stands out for the playful swing style rhythm that leads to diverse melodic nuances yet the symphonic essence is still present with impeccable operatic vocals and elegant multilayered arrangements.
On “In Quest Of Sense” the mood gets quite dramatic with somber choral parts, melancholic lead vocals and refined orchestrations while the rhythmic section still focuses on heavier guitar driven grooves.
The understated atmospheric layers on “Otoi” feel like a soothing soundtrack for a folk fairytale while the polished guitar melodies and the flawless emotive vocal delivery evoke the harmonious aspects of symphonic metal.
“Our Last Gloomy Dance” sounds like a masquerade ball with a waltz style rhythm surrounded by the darker yet grandiose tonalities of the detailed orchestrations and the inner gloom is certainly matched by the mysterious aura of the choir and the dramatic operatic delivery.
On “Blind Muse” thunderous drums and bold guitar riffs often take the center stage keeping a strong heavy momentum even if the song’s melodic soul is constantly enhanced by the orchestral splendor and the heartfelt vocal harmonies.
Creating the right mood for a night at the opera “In The Vortex” relies exclusively on rich multi layered atmospheric arrangements that evoke sheer melancholy as well as triumphant vibes and emphasize the classical style of the dazzling operatic vocals.
Diabulus In Musica stay true to the signature elements that have rendered symphonic metal an exceptionally successful genre worldwide so if you’re a fan you will find plenty to love on the latest offering “Euphonic Entropy”.
Italian experimental metal outfit Nero Di Marte is devoted to the creation of distinctive hard to categorize soundscapes that seem to constantly evolve following a wild creative freedom throughout the new album “Immoto”.
The cerebral complexity of “Sisyphos” proves that this is not music for the masses. The emotional vocal delivery and the otherworldly guitar melodies can take you far away creating an intense introspective momentum that leads to a particularly dreamy finale but there are also massive chaotic rhythmic segments fueled by borderline dissonant guitar riffs and faster drumming.
The title track is another lengthy opus that fully showcases a multifaceted composition beginning with soft vocals and guitar harmonies that will gradually express vivid emotions through post metal oriented instrumental progressions that shift from mellow melodies to harsh rhythmic blasts.
On “La Casa Del Diavolo” in the midst of a dense almost impenetrable atmosphere guitars craft enticing melodic textures and acquire darker tonalities with a strong post metal inspiration and once again the band effortlessly shifts from tranquil moments to significantly heavier prog influenced rhythmic crescendos.
With a moody atmospheric approach and delicate guitar harmonies “Irradia” flows like a beautiful daydream yet even if the inner melancholia remains a key element the rhythmic section will eventually embrace a sharp heavier momentum accompanied by theatrical vocals.
With an evident avantgarde approach on “Immoto” Nero Di Marte fearlessly aim to craft unique and even unusual instrumental progressions that also express a whirlwind of meaningful emotions.
Archon Angel is a new exciting project featuring former Savatage and Circle II Circle vocalist Zak Stevens and producer/guitar player Aldo Lonobile of Secret Sphere, the result of this collaboration is embodied by the powerful debut album “Fallen”.
The title track marks a truly memorable beginning with the perfect dosage of passionate piano melodies and atmospheric arrangements surrounding catchy rhythmic dynamics that are constantly enriched by Zak’s charismatic voice channeling the authentic spirit of classic metal.
The strength of “The Serpent” comes from the darkened vibes of the heavy groovy rhythmic core that relies on sharp riffage and glamorous soloing embellished by multilayered understated orchestrations and such captivating ensemble naturally suits the fierce vocal delivery.
The bittersweet piano melodies of “Under The Spell” immediately evoke a sheer melancholia yet the groovy guitar riffs confidently maintain an engaging bold rhythmic momentum and the vibrant counterpoint vocal parts are simply irresistible.
The atmospheric layers on “Twilight” become dramatically darker and the opulent symphonic orchestrations gain a rather dominant role within the song’s structure while the impeccable rhythmic section continues to focus on a solid series of heavier guitar driven grooves.
The old school heavy metal approach is particularly vivid on “Faces Of Innocence” which relies on a winning blend of heartfelt melodic textures and glowing keyboards layers intensified by the flamboyant guitar soloing and the exquisite vocal harmonies.
The epic final track “Return Of The Storm” will easily become a favorite beginning with enticing melancholia infused piano melodies that put the spotlight on the stunning counterpoint vocal choirs and the consequent darkly melodic grandeur will remain essential as the lavish symphonic orchestrations continue to shine through the faster energetic rhythmic patterns.
Archon Angel demonstrate to have already a clear sonic pathway in mind and on “Fallen” Zak’s unforgettable signature vocal style paired with a pure classic metal essence and progpower elements at times might remind you of the glorious days of Savatage so the fans worldwide will enjoy listening to this album and probably will feel a bit nostalgic.
