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Saturday, May 26, 2018

Live review: Amsterdam Metalfest at Melkweg, Amsterdam, The Netherlands, May 19th, 2018

On May 19th, at 16:00h the Melkweg in Amsterdam opens its doors for a lot of time filled with nice metal under the banner of Amsterdam Metalfest!


Around 16:30h the first band begins. The groovy drums of Yuma van Eekelen and intense shout of Pieter Verpaalen are clearly audible, Onegodless has started their set! Where the energy and enthusiasm seemed to be missing for a bit during the first track, this luckily appears very soon during the rest of their set. Onegodless sounds very heavy which, in combination with some very nice solos of guitarist Yordi Lopez, delivers a heavy, nice start of Amsterdam Metalfest. A few people in the audience that is already inside are visibly enjoying themselves, but it seems some people also need some more time for going crazy.


For today's second band Amsterdam Metalfest is a hometown-show, the Amsterdam-based band For I Am King. Only guitarist Koen Scheepens isn't hailing from Amsterdam, which soon results in vocalist Alma Alizadeh calling him Brabo-Koen. For I Am King delivers a very tight set with a lot of energy and enthusiasm, with as a definite peak frontwoman Alma, who of course also delivers some very nice vocals. The energy coming off of their show also results in the first moshpit of today. A kid which was sitting on, probably, his father's shoulders who was very enthusiastic right from the start gets an invite to the stage by Alma. After this he also gets his first crowdsurf across the venue and when Alma announces a second time of crowdsurfing, he lets Alma know that he prefers to see a wall of death. So, he of course gets what he asked for and a wall of death appears!


After For I Am King left the stage and it has been prepared for the next band, it's time for today's most brutal band, Hideous Divinity! Continually pounding drums, heavy guitars and low grunts with sometimes a bit higher shouts is what Hideous Divinity stands for. At the start of their set the vocals are a little bit difficult to hear, but this luckily changes after their first two tracks, especially where it comes to the very low grunts. So, is Hideous Divinity just a heavy wall of sound? Yes and no. For sure the heavy, loud, extreme pounding sounds are the main part of their music, but it also is very clear that they thought about their tracks and their music also contains some very nice guitar solos. It for sure is a miracle that the Melkweg is still existing after this set and Amsterdam Metalfest doesn't have to be canceled because of a destroyed venue.

That would be a shame, because this edition of Amsterdam Metalfest is only halfway through and there will be another three nice bands upcoming.


Luckily the Melkweg isn't destroyed and Amsterdam Metalfest isn't canceled, so it is time for the guys and girl of The Charm The Fury to start their hometown-show. They also play a very energetic show, which is heating up the audience once more. The results of this energy are multiple moshpits, a few crowdsurfers and quite a big wall of death. The Charm The Fury delivers a very solid show and based on the many people going crazy, there are a lot of The Charm The Fury fans inside today's venue. Very nice show!


After The Charm The Fury, it's time for Obscura to let us hear their set. Are there also fans of more complex guitars and bass-sounds combined with loud metal present today? Based on the sound that the audience is producing when the guys of Obscura are starting their set, there sure are! Honestly, I have to say I only listened a few tracks by Obscura before, but this show is quite a pleasant surprise for me personally. These guys combine loud metal with some more quiet, progressive parts with nice, complex (bass-)guitar parts, without getting too technical and irritating. Obscura plays a very tight set, which results in most of the audience audible and visibly being happy with this set. The band members aren't moving very much during their show, but this probably is because of Obscura's instrumentation. However, this for sure isn't causing problems to their show.


After Obscura's set, the end of Amsterdam Metalfest is already nearby, but not before today's headliner have played their show. It's a very nice headliner! None less than the Italians of Fleshgod Apocalypse! When I saw their show in Doornroosje, Nijmegen last year I was very pleasantly surprised. This band delivered a perfect show and they do so again tonight in Amsterdam's Melkweg. A month ago these Italians had to cancel a few shows because they were robbed in Sweden. However, it is impossible to stop Fleshgod Apocalypse and they let us know that they continue giving phenomenal shows. The costumes and the atmosphere of a Fleshgod Apocalypse show could almost be compared to a scene coming off a 17th century-painting like Rembrandt's De Nachtwacht and their music is a perfect combination of epic and brutal. The audience goes crazy for one last time and the kid who joined For I Am King on stage also gets invited on stage by Fleshgod Apocalypse vocalist Francesco Paoli and even gets a photo with them at the end of the set. Fleshgod Apocalypse showed that they are a perfect headliner and closer of this very nice edition of Amsterdam Metalfest.

Written by Tim van Velthuysen, photos by John van der Zee

Read our live review of another show by For I Am King and The Charm The Fury here, as well as our live review of another The Charm The Fury show here. You can also read our review of The Charm The Fury's album The Sick, Dumb & Happy here as well as an interview we did with their vocalist Caroline Westendorp here.

Fleshgod Apocalypse Official Website
Fleshgod Apocalypse Facebook
Fleshgod Apocalypse Twitter
Obscura Official Website
Obscura Facebook
Obscura Twitter
The Charm The Fury Official Website
The Charm The Fury Facebook
The Charm The Fury Twitter
Hideous Divinity Facebook
For I Am King Official Website
For I Am King Facebook
For I Am King Twitter
Onegodless Official Website
Onegodless Facebook

Thursday, May 24, 2018

Review: White Wizzard - Infernal Overdrive


In 2017, White Wizzard's bandleader/bassist Jon Leon announced the return of classic White Wizzard members Wyatt Anderson (vocals) and James J. LaRue (guitarist) to the band's lineup. They also signed with another label, M-Theory Audio. On January 12, 2018, the first White Wizzard album on this label was released. This album, entitled Infernal Overdrive, is White Wizzard's fourth full-length and is the successor of their 2013 album, The Devils Cut. Their music can be described as heavy metal with some prog-influences.

Even before you start listening to Infernal Overdrive the cover of this album, created by UK White Wizzard fan Christopher Hardy, promises a lot for this album. I can already tell you, that's deserved!

Immediately when Infernal Overdrive begins the band kicks in full throttle with the title track. Soon vocalist Wyatt clearly lets us know that he is also present. The energy immediately kicks into your body, this is very promising!

Something that is very noticeable and sounds really cool is the very present bass guitar. It's very clear to hear the difference between the bass guitar and the bass drum, which gives the music some sort of extra dimension. You can clearly hear the bass-strings blast, which gives a very nice sound. Luckily this maintains during the entire album.

Vocal-wise Wyatt Anderson shows a very strong voice with some extra emotion in it, because of his a bit raw sound. At a few moments he also let us hear that he can get pretty high with his voice, for example in Critical Mass and at the end of closing track The Illusion's Tears.

I guess that Critical Mass will be a killer song when played live. It has a pretty fast start, with also a bit slower, doomy part and the choruses are almost anthem-like.

Of course guitarist James J. LaRue can't be unmentioned when talking about some very positive peaks on Infernal Overdrive, because he shows that he is a very great guitarist. You can't deny that after listening to this album. Besides the great riffing, James also gives us quite some solo's which are, piece by piece, very nice. Some examples of these which are very worth checking out are in Voyage Of The Wolf (a bit oriental-sounding), Metamorphosis and The Illusion's Tears.

Logically, this all can't be possible without a drummer and that's why drummer Dylan Marks shows that he is the very solid, strong backbone of White Wizzard. In Metamorphosis he gets some extra space to show his skills, which he of course takes in a very great way.

The last, and longest, track on Infernal Overdrive is The Illusion's Tears, which is a perfect closing track of a perfect album that you definitely don't want to miss. Here White Wizzard shows us what they are able to for one last time.

Apart from the fantastic music on this album, Infernal Overdrive is also produced in a really good way. Everything sounds pretty intense and clear, but it definitely doesn't sound overproduced.

In the end, the many promises based on the cover and the titletrack definitely came true. White Wizzard's Infernal Overdrive is a very energetic, perfect heavy metal album with some prog-influences which gives it some nice variations.

Written by Tim van Velthuysen

White Wizzard Facebook

Wednesday, May 23, 2018

Review: Marabou - Spirit Lights


Marabou was originally formed by two friends, Shay Davitt and Tom Leacy, in Wexford, Ireland back in 2011. They blended metal with post-hardcore and a few more styles into a brutal mix that gave them an almost instant success in the Irish underground scene. With their fame and fan base quickly growing, they found themselves an extra guitar and a set of vocal chords in the person of Aaron Gaffey, expanding the lineup to four members, with bassist Kalebh Grocock completing the quartet, securing their reputation as a strong live band. To underline this growth they have now released their first studio work, which comes as an EP called Spirit Lights. A great opportunity to find out if they have the potential to convert their live performance into a solid studio performance.

Being an EP, Spirit Lights only clocks a little over 15 minutes, in which four songs are served. Opener The Heat is a groovy song that leaves no doubt about why these guys have such a great reputation as a live band. The tight riffs are accompanied by harsh vocals that breathe anger and a very strong rhythm section that defines the song’s borders. I have no problem whatsoever imagining a huge mosh pit developing when this is played on a random stage anywhere. The next song, Keep Hating Me, builds on the same foundations, but those foundations are so expertly tucked away in the countless differences in rhythm and structure you will most likely barely notice it, if at all. And to be honest, even if you do it doesn’t take anything away from the entertainment this song offers. There is not always the need to reinvent your style, in fact, it hardly ever is as long as you keep things varied enough. Next up is These Creeps, which is a bit different from the other songs, it vaguely rang a few Suicidal Tendencies bells every now and then with its clean singing and various intermezzos and rhythm changes. As if to summarize the album closer, Mr Architect, kicks in, in which the guys show what they are made of one last time. I have no idea what exactly they are made of, but it’s pretty damn’ solid I’d say.

Marabou pretty much nailed it with their maiden release Spirit Lights in my opinion. The four more than solidly composed and executed songs are a perfect reflection of what they stand for music-wise and I think it’s safe to say every single one of these songs is capable of making any metal minded crowd go absolutely bananas at a live performance. Saying these songs are best consumed live would derogate the band’s efforts, the songs are way too strong quality-wise to simply state that, but man, these songs will cause a serious stir when played live. If metal with a post-hardcore flavor and a blend of subtly dosed other styles is your thing, buying this is a no-brainer. If you are into metal as a whole you should give this a shot as well. Chances are you will like this.

Written by Henric van Essen

Marabou Official Website
Marabou Facebook
Marabou Twitter

Tuesday, May 22, 2018

Review: Ashes Arise - Resurgence From Oblivion


Melodic death metal trio Ashes Arise hail over from the US and France – and here is already a special thing about them: they overcame time zones and language barriers and managed to form a fully functioning band – a beautiful example that music knows no boundaries. Another curious thing: from composing over production to artwork design, everything is self-made. A very impressive achievement, so let’s listen to the result!

It starts with The Countess and a more symphonic intro, which quickly turns over to a proper melodeath track, while still also incorporating some clean vocals in it. Fate is mainly characterized by tempo switches and incorporates some symphonic elements in it. This latter point actually holds true for a lot of the songs, so if you’re i.e. a fan of Septicflesh, then you’ll like this album very much. There are some deviations from it, though. Theory Divine, the album’s fifth track, for instance offers a hearty dose of doom metal, especially in the beginning, and the seventh track, Awakening, has a lot of rock influences.

In conclusion: Resurgence From Oblivion still has some rough edges here and there that need a bit of sanding off, for instance the tracks which are rather long and could be brought a bit more to the point by shortening them. Nevertheless, it’s a very good album. The fundamental style is melodic death metal, but also a good portion of i.e. symphonic metal are added to the whole mix, thus making it a varied album that is fun to listen to. I’m curious to see what the girls come up with next! Recommended and 9/10.

Written by Julia Obenauer

Ashes Arise Official Website
Ashes Arise Facebook
Ashes Arise Twitter

Sunday, May 20, 2018

Interview: Gonoreas


On February 23rd, the Swiss metallers of Gonoreas released their new album, called Minotaur. Time for DutchMetalManiac's Tim van Velthuysen to ask Gonoreas' guitarist Damir Eskic some questions!

Hey, congratulations with your new album, Minotaur. I really like it!

Big, big thanks my friend! It's nice to hear.

When you compare Minotaur to its predecessor, Destructive Ways (2015), what is it you notice?

Hmm... we did Destructive Ways in a easier way, only heavy metal. With Minotaur we speak about our influences, and depths of the ideas and music. So, Minotaur is a little bit more dark and a little bit more complicated album.

What is the story behind the lyrical content of Minotaur?

It's not a story, every song has a different lyrical content, but it's all about life, and what's happening during it. The song Minotaur is about big obstacles that appear in our life, sometimes the biggest obstacle, the biggest enemy is ourselves. On the song, the walls of the labyrinth are made of mirrors that reflects past memories and regret. The main character tries to attack the minotaur, but attacks the mirror, his on reflex, the glass breaks and kills him. The meaning behind the lyrics is about not getting lost on the labyrinth of our mind, sometimes we can be our worst enemy.

Where do you get inspired by? 

Our inspiration now are, we by ourselves. When we composed the songs this time we only thought our way, and how to give the riffs and ideas for us only.

Since your 2011 album Apocalypse you work with V.O. Pulver in the studio. What is it that makes you return to him?

It's just a perfect way to create and record the album with V.O. and everybody can hear the great result. We love the work of V.O.

The cover art of Minotaur is made by Osmar Arroyo. He also did some covers of your earlier releases. What made him the best person for creating the cover of Minotaur? What is it that makes you return to him for the covers?

Osmar Arroyo is an great artist and he is a friend of our singer Leandro. He is a uncomplicated guy and he does great artwork. For the special edition of Minotaur, we have a different cover and another artist too. It was made by Gyula Havanczack. Gyula made covers for bands like Blind Guardian, Destruction, Grave Digger and more.

For releasing Minotaur you signed to Art Gates Records. What makes them the best label for Gonoreas at this moment?

We needed a partner who would help us. I'm a full-time musician and also worked for my wife's band called Burning Witches. Now we have too much to do, so we needed a partner who can work good with us. This is the first album with Art Gates and we must see how it will work the next time.

You hail from Switzerland. How is the Swiss metalscene?

The Swiss metal scene is great, but there are too many concerts every week in, for example, 40 km around of us. It's great but sometimes it's bad. For like 10 years we did some easy promo and much people were coming to every show. Today we must do big promo for every show.

Any bands from there you recommend checking out?

Yes! Burning Witches, Mind Patrol, Final Crusade, Hellvetica, Comaniac and Emerald.

You already announced some shows, can we expect more of them? Maybe coming to The Netherlands?

Yes, we now have some shows booked for the Minotaur tour. Maybe we can come to The Netherlands.

Thanks for your answers! Is there anything you would like to say to our readers?

Big thanks for love, great metal sounds and enjoy the greatest music in the world!!

Gonoreas Official Website
Gonoreas Facebook

Friday, May 18, 2018

Interview: Morvigor


In November last year, the Dutch metallers of Morvigor released their second full-length album, called Tyrant. Time for DutchMetalManiac's Tim van Velthuysen to interview them!

Hey, congratulations with your new album, Tyrant. It's really nice!

Thank you! We’ve been working on Tyrant for a long time, so it’s always great to hear people appreciating our work.

How are the reactions you get on it so far?

The reactions have been overwhelming so far. Almost every review online is hugely enthusiastic and speaks about us with lovely flattering words. We also really enjoy the fact that people don’t really know how to classify our music. We’ve been called almost everything, ranging from Hardcore Punk to Prog Rock to Atmospheric Black Metal and, my personal favourite, Eclectic Meme Metal.

When you compare Tyrant with its predecessor, A Tale Of Suffering (2014), what is it you notice?

Personally I notice a much more matured band, both musically and conceptually. The songs are more thought and worked out than on A Tale Of Suffering. Soundwise, A Tale of Suffering shows a mixture between Melodic and Folk metal with a little progressive touch, Tyrant shows a hybrid between Black / Death / Prog Metal and a little bit of Punk.

The song structures are great! How does the writing process go for a Morvigor track?

One of us introduces a riff or an idea in the rehearsal room. We jam a little, and then our guitar player Sytze makes a little demo recording at home. Then we improve and improve and improve the demo till we got something we all are content with.

This is your first album with Brendan Duffy on drums, did this change something to the creating process of an album compared to creating an album with your former drummer IJdo IJssennagger?

Brendan is a fantastic guy, both musically and personally. I won’t go into details about differences between Brendan and IJdo, since they aren’t really comparable, but I can say that Brendan is a drumming mastermind and is extremely motivated, which is really inspiring for all of us.

You have two guests on this album, Jan Jongewaard (who is responsible for the programming on Voices) and Geert Omta (who plays piano in the outro). How did these collaborations came to pass?

Geert Omta has been a friend of the drummer Brendan for a long time. We were thinking about doing a piano-outro, and since Geert is studying classical music at the conservatory, it was really obvious we had to ask him for doing the outro. It was a great experience, we recorded it in a small church in the Dutch countryside, it was beautiful. About Jan, he was my English teacher when I was in high school. He had this low, intense voice, which I then, and still, found really imposing. So when we decided to do a interlude with voices, I sent him an email, and he was enthusiastic right away.

How are you going to surpass this on a new album?

A healthy combination of motivation, inspiration, exploration, experimentation.

Speaking of it, are you already working on new material? If yes, can you already tell us something about how it's going to be?

I can’t tell how it’s going to be. We already have a few ideas lying around, musically and conceptually. But, it still requires a lot of work before we can make anything public I guess.

You recently participated in the Dynamo Metal Fest BandBattle for a spot on Dynamo Metal Fest. How did that go?

Brendan is doing the MetalFactory at Dynamo, so the choice to play there was an easy one. We were very glad to see we were selected for the finals, since it’s kinda strange for a Black Metal band to compete in a bandcontest for a more modern / mainstream open air metal festival. We didn’t won, but we had a great time there, and I think we’ve made quite a impression on the bookers of Dynamo, so we might be back there another day.

You currently have three upcoming shows announced. Can we expect some more Morvigor shows soon?

Yes! We are planning a few other, mostly small local shows, which will be announced over following months I guess.

Thanks for your answers! Is there anything you want to say to our readers?

Thank you for reading, and don’t forget to check out Tyrant!

Morvigor Official Website
Morvigor Facebook

Thursday, May 17, 2018

Review: Kobra and the Lotus - Prevail II


Last year Kobra and the Lotus released their first part of the Prevail album, of which you can read our review here. Now Prevail II is out and I again feel privileged to be able to review this second album as well! The album immediately is off to a good start beginning with the earlier released single Losing My Humanity, this track builds further on where Prevail I stopped. The song has the guitars and fierce vocals that bring us the all-too-familiar Kobra and the Lotus sound. The force and aggressiveness of this opening song immediately sets the right mood. I can understand why this song has been put at the beginning of the tracklist!

The beautiful Let Me Love You dials down on aggressiveness and fierceness without taking away the familiar Kobra the Lotus sound. It sounds more like a heavy rock song then it is a metal song per se. This is perhaps the power of Kobra and the Lotus and in particular with these last two records, there are quite a few variations between different styles of music, but switching between those styles sometimes happens without me actually being fully aware of it. I mean, I obviously did notice it, but all the songs blend perfectly together and it actually adds a lot of flavor to the record rather than diminishing it. The next song called Ribe is an acoustic intermezzo which connects the songs Let Me Love You with the next track, My Immortal. Ribe takes you out of all the guitar and drum violence for a few minutes, which I will address later on, and calms you to give you time to charge up for the beautiful My Immortal. This song in some ways builds on the foundation of Let Me Love You. Only this time there is more variation and the song builds up constantly eventually leading up to the beautiful high notes of Miss Kobra Paige herself. These well-controlled and clear high-pitched vocals show how versatile and talented Kobra really is.

Human Empire shows itself as being a true metal track to the bone. The guitar and drums are absolutely phenomenal here and the fierceness of the vocals again shows its face! After this violence follow two straightforward rock songs that don’t really jump out but are necessary and beautiful nonetheless even if it were only due to the fact that they again show how versatile Kobra and the Lotus as a band really is. I love how they show time and time again that they make the music that they want to make rather than thinking about whether it’s metal enough for some people.

Modern Day Hero is the next track. This song is really positive, it makes me feel good and I immediately want to fight for righteousness! Something that really fits Kobra and the Lotus and the reason they make music. You can read about this further in this interview which we did last year with Kobra herself! In You’re Insane the band goes really all-out! This is metal like it's supposed to be, straight to the point and heavy! At least that is my opinion! The fierce and powerful vocals of Kobra are back once again and she really gives her all! As a listener I was completely blown away by her power! With White Water, the ballad on the record, the band again shows their vulnerable side. The song is really beautiful and is without a doubt, like ballads have been so many times, my favorite song on the album. The classic 80s guitar solo at the end really makes the difference! That’s how a powerful rock ballad, with little bit of metal must be! Fleetwood Mac’s The Chain has been covered with grace. The band really gives color to the original song and makes the song dynamic! This coming from a guy that doesn’t even like covers! Great job Kobra and the Lotus!!!

The acoustic version of Let Me Love You is the bonus track. To me this is the cherry on the cake. Where the original track is only vulnerable in the chorus, this acoustic rendition is vulnerable the whole way through and translates the feeling of love and positivity even more than its electric counterpart!

I can only say that Prevail II is a great continuation of the path that Kobra and the Lotus is on right now! I really hope that the band continues to do this with all their positivity and love!

Thanks Kobra and the Lotus!

Written by Glenn van der Heijden

We also mentioned Kobra and the Lotus in part 14 of Promoting Bands, which you can read here.

Kobra And The Lotus Official Website
Kobra And The Lotus Facebook
Kobra And The Lotus Twitter

Wednesday, May 16, 2018

Live review: Nachtblut and Krankheit in Willemeen, Arnhem, The Netherlands, May 9th, 2018

May 9th, it's a pretty hot day today with a lot of sun, but a very dark evening is planned in Willemeen, Arnhem. Not just a dark evening! Two bands will play their first Dutch show tonight: headliner Nachtblut and support act Krankheit!

When the doors of Willemeen's cafe (where tonight's shows will happen) just opened, the venue stays pretty empty for quite a while. Just a few moments before Krankheit will begin their set, the café starts to fill up quite well. It’s possible that many people where just enjoying their last few moments of sun for the day.


At 20:00 the show has begun; the background music fades out and Krankheit begins their set. Immediately it's clear that the sound guys are doing a great job, the quality of the sound is very good right from the start. Luckily this remains the same the entire evening. Anton (Tony) Gassner, Christian Präauer and Roy Preissler play their set with a lot of energy. Krankheit presents themselves in a very maniacal way, with especially drummer Tony standing out with his Joker-like appearance. The set is very well done, they give all they have to give during the show, there is a very hectic light-show present and the audience is already getting quite warmed up as well. Yes, I am going to compare Krankheit with Rammstein, but not just because they are a metal band singing in German. Of course, there are some similarities, but Krankheit for sure also has their own things. A few examples being Krankheit using a lot more classical music in their tracks and the vocals are clearly different. The atmosphere of their show was also really their own, but sometimes reminded me a bit of Rammstein. Of course this is a personal opinion from someone who unfortunately never went to an early period Rammstein-show. Tonight's small venue, the heavy, drilling music of Krankheit and tonight's atmosphere made me feel that I was at one. I am definitely not saying that Krankheit is imitating Rammstein. To be honest, I think that Krankheit clearly shows that they are very able to turn these similarities into their own thing, also partly because of the addition of other aspects.


After Krankheit left the stage and it's prepared for Nachtblut, it finally is time for tonight's headliner. Right after Nachtblut entered the stage they start with the first notes of Multikulturell, the much-discussed track from their newest album, Apostasie. In case there were people present for who tonight's atmosphere wasn't strong enough yet, it at this moment, can't be a problem anymore. Nachtblut shows to be very enthusiastic on stage, something that for sure passes onto the audience. Of course tracks from Apostasie are played, a few examples being Amok, Der Tod Ist Meine Nutte and Frauenausbeiner, but also some older Nachtblut tracks will pass by on tonight's setlist, for example with Töte Mich and Antik. At some point during the show, Nachtblut serves their legendary shot-drink.

A while later vocalist Askeroth asks the audience if they want something else to drink. This of course means the start of Ich Trinke Blut. The chalice with blood is handed to Askeroth, he takes a sip and empties the remainder over a part of the audience. Askeroth also joins the audience at some moment, starting a mosh pit to heat up the audience some more. When Nachtblut leaves the stage, the audience immediately starts shouting "Zugabe! Zugabe!" Nachtblut soon comes back to deliver this eagerly anticipated encore, which contains quite a few tracks. Wat Is Denn Los Mit Dir, Nachtblut's version of the Kollegah & Majoe-track and Apostasie's bonus track, also is part of this encore, with vocals being handled by Krankheit's vocalist Christian.

This Dutch live-debut of Nachtblut and Krankheit was great and I can't imagine that there won't be any more Dutch shows for these two bands in the future. It was an awesome evening!

Written by Tim van Velthuysen

Read our earlier interview with Nachtblut's drummer Skoll here.

Nachtblut Official Website
Nachtblut Facebook
Krankheit Official Website
Krankheit Facebook

Tuesday, May 15, 2018

Review: Moker - Home Invader


A little while before I wrote Promoting Bands Part 3 I got to hear the music of the Belgian metallers of Moker, which was a reason for mentioning them in that part of Promoting Bands. At that moment this extremely heavy band had already released 1 split (with Outcast) and 3 albums (Translating The Pain (2007), Total Domination (2009), Satans Den (2014)). You can listen to Satans Den in the aforementioned Promoting Bands. A while later, in Promoting Bands Part 11, I again mentioned Moker. This time it was because of their upcoming album, Home Invader. A track of that album, Held Hostage, can be heard in that part of Promoting Bands. Since December 2nd last year, Home Invader is released. Let me already tell you for now, this is another album that hits like a sledgehammer coming from Ad de Wachter (vocals), Dirk Broeren (guitar), Michael Lemmens (guitar), Kenneth Keysers (bass) and Glenn Leuckx (drums).

While Home Invader is only 33 minutes long, this still is an album you have to recover from. It all starts with an intro titled Emergency Call. Emergency Call is very tension-building and works very well as an intro. It immediately drags you in this album and won't let you go for the coming 33 minutes.

From the moment that Emergency Call ends, these Belgian guys kick in heavily. Especially the rhythm-section is blasting very loud. You don't like pounding drums? Then this album won't be for you, because Glenn Leuckx's drums are literally pounding through your bones.

Vocal-wise Ad de Wachter is responsible for the generally extremely low grunts, sometimes a bit higher screams or a bunch of pigsqueals in for example Code 417. Code 417 is a track worth mentioning anyway. It is a very heavy track, as you would expect on an album like this, but Code 417 has something different compared to the other tracks. To be more specific: it has the only real resting point of the entire album at its end in the form of a quiet but creepy outro. While this is a transition between two extremes, this transition sounds very natural and logical.

Of course Moker's music also contains guitars. While Moker plays brutal death metal, Home Invader for sure has some special moments for the guitar in the form of some very nice solo's. Two examples of these are the solo's in Throat Snatcher and The Act Of Lacerating.

The production of Home Invader is also done very nicely. The music is of course, very brutal and pounding, but everything is very clearly audible. This, in combination with the variations in rhythm and tempo, makes Home Invader interesting and not turning into a boring wall of sound. For sure some details, like the guitarsolo's, are also part reason of this.

With Home Invader Moker again delivers a very nice album that no brutal death metal fan should miss. Home Invader is heavy, loud, brutal and very interesting. Great job, Moker!

Written by Tim van Velthuysen

Moker Facebook

Friday, May 11, 2018

Interview: Towers & Bridges


Recently the German metalcore band Towers & Bridges released their new EP, called Spirits, which was a reason for DutchMetalManiac's Tim van Velthuysen to interview them.

Congratulations with your new EP, Spirits. It sounds great!

Thanks for listening and for your kind words. We’re glad that you like it!

How are the reactions you get on it so far?

There are mainly positive reactions, when we’re talking to people or on social media. We also got reviews in some magazines, which are a little bit more differentiated and these weren’t bad too.

You play metalcore, what makes Towers & Bridges stand out in the metalcore subgenre?

For a metalcore band, everyone knows it’s very hard to stand out of the masses today. But our musical DNA has some classical metal in it, so we try to include such influences. I also think that our singer Antun, has a strong and unique voice, especially his melodic singing.

When you compare Spirits with your earlier EP, Breakwaters (2015), what is it you notice?

Looking on Breakwaters it feels like an absolute different life. We were all total noobs regarding making a studio record. With Spirits it was the first time recording with the current line-up and our perception for the sound was much clearer. So Breakwaters was a very important learning process, what we want and what not.

You recently signed to Dedication Records, what makes them the best label for Towers & Bridges at this moment?

Dedication Records is led by very enthusiastic people and making money isn’t their main focus. As a small band like we are, this helps a lot to get our music to the people and we don’t have to sign obscure contracts or something like this.
Our main goal is growing together through supporting each other.

You also did a cover of Kendrick Lamar's Humble. Why did you choose this track to do a cover of?

We are all into different kinds of music and Antun loves rap music. He always wanted to do a cover of such a famous song.

You are already working on your first full-length, right? Can you already tell us something about how it's going to be?

At the moment we’re in the songwriting process, but we already began to do the vocal pre-production for some songs. If you’re totally in the working process, like we are at this time, it’s hard to get distance to it and to say something objective. But my feeling is, that some songs are going to be more complex, regarding the structure. And the heavy parts will be heavier and the melodic ones more catchy. So overall maybe a little bit more of everything.

You hail from Munich. How is the metalscene there?

Munich has a lot of good bands playing different styles of metal and there is a good vibe among the scene. But sometimes it’s hard to do shows here, because there are so many bands, that you have two or even three shows at the same evening, so the audience is spread over the different clubs.
The Backstage and the Feierwerk are such great venues here, their work is so important for Munich. Without them small bands would have much less opportunities playing shows.

Any bands from Munich you recommend listening to?

Sure, you should check out May The Tempest, Heruin, Into Oblivion and Tonight We Hunt.

You already announced a gig on RockXplosion in July. Can we expect some more Towers & Bridges shows soon? Maybe coming to The Netherlands?

I hope so! Playing in the Netherlands would be an absolute dream coming true! We never played outside of Germany yet. On the other hand it isn’t always easy to get out of here. We all need to do our jobs and some of us are going to start a family or already have a child at home.

Thanks for your answers! Is there anything you want to say to our readers?

Thanks for reading and for your time. If you appreciate bands like Unearth, Killswitch Engage or Stick To Your Guns, you should give a try and check out our EP SPIRITS on Spotify, YouTube, Deezer, etc.

Towers & Bridges Official Website
Towers & Bridges Facebook

Wednesday, May 9, 2018

Interview: Jacobs Moor


In October last year, the Austrian metallers of Jacobs Moor released their second full-length album called Self, with a digital release through Bleeding Star Records coming up on May 18th. DutchMetalManiac's Tim van Velthuysen spoke with Jacobs Moor's vocalist Richard Krenmaier, guitarist Rupert Träxler and drummer Rainer Lidauer.

Hey, congratulations with your new album, Self. It's really nice!

Rainer: Thank you very much, we appreciate that. It was a lot of work and we are happy and proud of our 2nd full-length album.

Rupert: Thank you. We worked hard on it to get a tight and heavy guitar sound but in a coloration of two guitars to get one big metal tone. And even to let enough space for the vocals.

How are the reactions you get on it so far?

Rainer: Our fans and critics around the world really love the album, so far we got great reviews and press reactions from everywhere.

Rupert: Until now we got only great reactions on this album and especially for this longplayer we tried to move forward and extend modern sound experiences.

When you compare Self to your earlier releases, All That Starts (full-length, 2014) and The Evil In Me (EP, 2015), what is it you notice?

Rupert: To do everything step by step. The EP The Evil In Me was the experiment to look where the journey is going. And to create this compact massive sound.

Rainer: The band started as a trio with Richard, Johnny Sommerer and myself. In the beginning we were just a studio project and began working on our debut album. It took almost three years to finish All That Starts, but in autumn 2013 we were finally done. Next step was to find musicians to perform live. We were very lucky and found some of the best musicians in the Austrian scene, so in 2014 the band was complete, and we started playing live. Johnny is still a band member, focusing on song-writing and acting as our “Noble Joker” as he can jump in on guitar and on bass, if one of the other guys has no time. In 2015 we have released the EP The Evil In Me with two new songs and five live-songs, recorded at our live-debut in 2014. Recording with our “new” band members went great, so we where ready to record the 2nd full-length album as a “real band”. I feel that the new album was a big progress, as we now sound like a band and we are one step closer to finding our perfect sound. We wanted to make the hardest-possible Jacobs Moor album which I think we have achieved. So, let’s see what the next album will bring…

In the studio you worked with Tony Lindgren for Self. How was working with him and what made him the perfect guy for this job?

Rainer: Tony is a well-known mastering engineer and the Fascinationstreet Studios are already legendary in the metal scene, so that was the first reason to choose them. The first test master was so good, we only had to make a few changes and the second master was the final one.

Rupert: For me it was his references and the band he is working with. That was the sound I imagined for our album SELF.

On May 18th, Self will also get a digital release through Bleeding Star Records, who also did your other digital releases. What makes Bleeding Star Records the best label for Jacobs Moor at this moment?

Rupert: First of all: reliability. Further integrity and support.

Rainer: Exactly. I know Christian Reichinger from Bleeding Star Records for several years and he is always reliable, professional and capable. Switching to a bigger, established label would only make sense, if the label shows real interest. With that I mean a label should be willing to invest some time and money to bring us to the next level and to reach more people. We have always refused to go to a label with these shitty “You pay for everything and we do almost nothing”-deals. So, we still make everything by our own, we have our own webshop and for digital distribution we have Bleeding Star.

The cover and artwork were created by Christian Taschner. What made him the perfect one for doing this?

Richard: I’ve worked with Christian for a very long time now. He made all Jacobs Moor covers so far. He always has the right image for the songs somewhere in his creative working place.

I found the painting for the new record very early in the songwriting process. We had to work on some details and issues but in the end, it turned out perfectly. I hope very much to work with him again for the next album.

What is the story behind the cover and the lyrics?

Richard: The lyrics on the album are very personal and describe how I am struggling with the world and with myself. But it`s also a cynical point of view of our society. Like we try to show on the cover-when you put away the bones and skin that differentiate us as humans we end up like the picture: eyes, flesh and teeth.

You hail from Austria, how is the Austrian metal scene?

Richard: In Austria we have very many metal bands, which play on local festivals.

All different styles of metal are there, unfortunately not many of them are known outside our country.

Any Austrian bands you would recommend listening to?

Richard: Our survival depends on us, Hollenthon and of course Elephants In Paradise.

Rainer: Ha, ha, thanks Richard, yeah Elephants In Paradise, Rupert’s and my second band which I think you already know. The most well-known band from Austria is Belphegor, other bands I would recommend for checking out are Cannonball Ride, Darkfall and Black Inhale.

You already announced one upcoming show. Can we expect some more Jacobs Moor shows soon? Maybe coming to The Netherlands?

Rainer: We would love to come to the Netherlands, so if any promoter or club owner is reading this interview and likes our music, feel free to contact and book us! We will do some shows in Austria in autumn.

Rupert: I´d love to rock the Netherlands!

Any other future plans for Jacobs Moor you can already tell us something about? Already working on new material maybe?

Rupert: We are already working on new material. I´m very excited about the new stuff because right now for the third LP you can´t do the same thing as one or two albums before.

Richard: I am in the middle of the writing process with my guitar players and very excited about the songs.

They are slightly different again from the previous songs but have all our trademarks in it.

Thanks for your answers! Is there anything you want to say to our readers?

Rupert: Listen to our new album SELF. That's really worth it. And keep your ears focused on some special riffs and solos! Thanks for reading and listening. And there are some new YouTube videos about gigging and touring out now - watch out!

Rainer: Thank you very much for the interview and for supporting small underground bands, it’s very important! And of course: listen to our music and if you like it spread the word.

Richard:Thank you all for listening to our music.

Jacobs Moor Official Website
Jacobs Moor Facebook
Jacobs Moor Twitter

Tuesday, May 8, 2018

Review: Tomorrow's Outlook - A Voice Unheard


Tomorrow’s Outlook is a project band from Norway that plays heavy/power metal and that operates with a core line-up supplemented with guest musicians and vocalists. As of this year the core line-up went from a duo to a trio consisting of Trond Nicolaisen, Andreas Stenseth and Øystein K. Hanssen. After releasing their debut 34673 in 2012 they decided to kick things up a notch. Or maybe ten notches would be a better description. For A Voice Unheard they went as far as to release a genuine trailer as if we’re dealing with a full-blown Hollywood blockbuster. The reason for this is the fact the guys from Tomorrow’s Outlook not only see themselves as musicians and composers, but also as storytellers. Due to the fact A Voice… is a concept album the idea of approaching it as a blockbuster is not that weird in my opinion. In fact, to be perfectly honest I personally think it’s a brilliant idea, which they executed to perfection. It’s theatrical, bombastic, Michael Bay would be proud. Introducing your album in this rather daring, unusual and spectacular fashion inevitably raises the bar of expectations to very high where it comes to this release. In addition to that there’s an impressive list of guest musicians, among which we find Tony Johannessen from Thunderbolt and Ralf Scheepers from Primal Fear, and two well-known voice actors (Danny Webb and Jamieson Price). To top things off they also managed to have their work produced by the illustrious Roy Z (Bruce Dickinson, Judas Priest, Halford). Oh, and as far as the story goes, it’s about the Apocalypse and a solitary hero that deals with it. Pretty cheesy to be honest, but it is what it is. Having said that though, I strongly suggest to look past that and take the time to thoroughly delve into the elaboration of the story, because that more than makes up for all the cheesiness of the subject. Easily.

Anyway, I think it’s safe to say everyone knows having an impressive story, line-up, producer and marketing strategy in no way guarantees a great release. It all comes down to the music and the execution of it to be able to determine whether all efforts were in vain or A Voice Unheard really is worth your time. Well, rest assured the latter is the case here. Not only does the impressive list of musicians live up to the combined fame of the guys on it music-wise, the songs that are composed to support this line-up are equally great. It kicks off with Within The World Of Dreams, which clearly sets the musical boundaries for the entire album. It doesn’t take a genius to figure out this album is filled with melodic heavy/power metal songs with a very strong reference to the similar type of metal that was extremely popular in the eighties. You will inevitably hear some Maiden and Priest, but this is in no way a cheap copy of their music. Of course there’s no denying they have had some influence on Tomorrow’s Outlook’s music, you might even say a significant influence at times, but it definitely has its own identity. And that right there is where this album distinguishes itself from many other attempts to rewrite the eighties success metal. The quality of the musicians is undisputed, regardless whoever you look at and despite the fact the majority is not a regular member of the band, that is never audible. If I was told they have been playing together for over a decade I’d buy that right away without giving it a second thought.

The howling guitars, the often high-pitched, somewhat nervous vocal lines that are typical for the genre, the tightly orchestrated riffs interspersed with a variety of solos, the relentlessly fixed rhythm of the strikingly discrete, yet unmistakably strong and determinative rhythm section, it all breathes the same high quality. I’m not going to describe each song individually, doing that would take a huge chunk away from one of the strongest points of this album, if not THE strongest point: The overall experience of this album as a whole. I’m also not going to choose one or more favorite songs, simply because I don’t have any… or because they all are. There is no weakness to be found here, this is hands down one of the best releases of this year. I’m convinced it will show up in a couple of year lists at the end of 2018. To top things off they have added two daring, yet expertly executed covers to close the album, daring because of the fact they’re taken from two of the big players in the heavy/power metal scene. The first being a Bruce Dickinson cover, more or less the personification of the genre and the second is a cover of an Aria song, a Russian band that is also well known within the heavy/power metal genre, though mostly in the Russian scene. To make things even more interesting it so happens that two of their members also contribute to this album. If you have ever wondered what eighties metal would have sounded like nowadays, this will end your quest and fulfill your needs. However, even though this is more than enough reason to give this a fair amount of spins, this one is more than simply a modernized trip down memory lane. The quality of the compositions, the execution, the production, the subtly complex elaborated story and even the marketing with that bombastic video show the huge potential this band has. Their only weakness could be the fact they don’t have a fixed line-up. Even though never audible on this release, that might prove to be a ‘problem’ when (and if) there is going to be a tour. Fear not, though, they got it covered. There are plans to form a full line-up and start touring to, and I quote, ‘melt faces all over the world’, whatever that may be. And to end with another positive note: Apparently the new album is more than half finished, so it shouldn’t be too long before that will be released as well. This is a bunch to keep an eye out for. Definitely.

Written by Henric van Essen

Tomorrow's Outlook Facebook

Friday, May 4, 2018

Interview: Excidium


In January the Polish metallers of Excidium released a new split together with fellow Poles Warfist, called Laws Of Perversion & Filth. DutchMetalManiac's Tim van Velthuysen recently interviewed Excidium.

Hey, congratulations with your latest release, a split together with Warfist called Laws Of Perversion & Filth. It sounds great!

Thank you, nice to hear it friend!

How are the reactions you get on it so far?

Well, all reviews I’ve read ‘til today were very positive so I can say the reactions are pretty good.

When comparing Excidium with Warfist, what is it you notice? And what made them the best band for this split?

We definitely have similar inspirations, we’re labeled with same names I mean - black/thrash, blackened thrash and so on. Also their last LP is a real killer so when we got proposition to share split with them we didn’t think for long hehe.

How did the writing process of your part of this split go?

We recorded all tracks at our rehearsal place in Rzeszów, then it was all sent to guys from Left Hand Sounds in order to make it sound like it should and we’re satisfied with final work.

This is your first release with Golem on bass, how did this work out during the process of creating these new tracks?

He’s a good bass player and a long-time friend for all of us so the whole process of creation went really nice for all of us.

Your last song is a cover of Impaled Nazarene's Karmageddon Warriors. What made you decide to do a cover of this specific track?

We’re all fans of Impaled Nazarene, I sincerely love all of their stuff both old and fresh so the choice came naturally.

There is a 8-year gap between this split and its predecessor, the Decimation demo released in 2010. What was the reason for this gap?

Some line-up changes, personal things for some of us and also big doze of laziness haha.

When you compare your songs on this split with the Decimation demo, what is it you notice?

I think new material is much more mature and well produced. We’ve got still the same inspirations that we had years ago but we made some progress with songs structure and so on.

You've already announced one Polish show, can we expect more Excidium shows in the near future? Maybe coming to The Netherlands?

Currently, we have no live shows in plans, so who knows! Of course we would love to play in Netherlands one day!

Are you already working on new material? If so, can you already tell us something about it?

Yes, we are. We have some unrecorded songs ready, also some ideas for new ones. They sound similar to what we have released on split with Warfist.

Thanks for your answers! Is there anything you want to say to our readers?

Keep thrashing ‘till you die! Cheers!

Excidium Facebook

Wednesday, May 2, 2018

Interview: Warfist


In 2016, we already reviewed Warfist's Metal To The Bone album (here). Now, since January these Polish metallers have a new split released together with fellow Poles Excidium, called Laws Of Perversion & Filth. DutchMetalManiac's Tim van Velthuysen recently interviewed Warfist.

Hey, congratulations with your latest release, a split together with Excidium called Laws Of Perversion & Filth. It sounds great!

Hellz! Thank you very much! Really appreciate your opinion. We did our best.

How are the reactions you get on it so far?

The feedback has been pretty good. So far, we have only been receiving reviews that rate the release as at least good. Some people complain a little bit about the sound, but you can never satisfy everyone, can’t you? As I said, we did our best to make this split be worth the attention. Moreover, the Excidium guys did a hell of a good job there as well. This is a pure punch between the eyes! That’s what we’ve always wanted from blackened thrash metal and it seems that Excidium are on the same page.

When comparing Warfist with Excidium, what is it you notice? And what made them the best band for this split?

Well, I’ve known this band for more than a decade now. Heard about them here and there, had a chance to listen to some of their songs… I’ve always enjoyed their music. It was Greg of Godz Ov War who told us that they have four new songs and could be a great match for the split release. Once he had sent me these tracks, I thought: “Hell yeah, let’s get this machine going!”. When comparing us to them, I can see a similar attitude towards creating music and I think admiration to the same bands. Our bands are both into the old school metal and it’s good to know that there are more and more bands that want to hold this banner high! Cheers!

When you compare your tracks on this split with your 2016 album Metal To The Bone, what is it you notice?

The split songs have a more of a rock’n’roll vibe to them. We decided to go back to our roots, by which I mean the times before the full-length debut album. I’m not saying that they’re a regress in comparison to Metal to the Bone. They’re just different, made with a different, more laidback attitude. Additionally, we also decided to re-record one of the demo-era songs, Sadistic Whorefuck. It’s still one of our favorite songs of Warfist and we’ve been playing it live for a long time.

How did the writing process of your tracks go?

It wasn’t much different from the way we’ve been doing it since the beginning. I bring the riffs and then we put them all together into a song. Although, as I said, this time the attitude was a little bit chilled-out. You know, the songs weren’t made for a full-length, so we thought to ourselves, why not try reviving the old spirits? I think that’s the main difference between this stuff and the rest of our most recent releases.

Your last song is a cover of Dodheimsgard's Angel Death. What made you decide to do a cover of this specific track?

We wanted to make a cover song for this release, but we didn’t want it to be anything obvious like old school thrash or heavy bands. Dodheimsgard is one of those bands that loved to change their style on every album. This is why it’s so difficult to put them into one metal subgenre. However, their Monumental Possession is really killer. Who cares if it was made because of a trend, which was being born at that time or not. This album has some very good songs and Angel Death is one of them. It’s blackened thrash metal, although made with a specific vibe. I don’t know what drugs were they taking back then and maybe because of that it was so difficult to record this song, especially the vocals 😉

In January Warfist and bass player Wrath parted ways. What was the reason for this and what's your view on this?

We’ve decided that we’re not going to discuss this matter in public. We have a new live bass player, Nechrist of Taran. We’ve played three live shows with him so far and they were damn good. So for those who have been worried about our condition after Wrath’s departure – we’re not giving up and we’re stronger than ever.

You've already announced two Polish shows, can we expect more Warfist shows in the near future? Maybe coming to The Netherlands?

Unfortunately, we were forced to cancel these shows, as we speak. Our drummer got injured and there was no way for him to play the drums for some days. We’re not thinking about more live shows, for the time being. We would like to focus on recording the songs for the third full-length. However, I think we may play one or two shows before summer holidays, but it’s too soon to reveal more details. It would be awesome to come to The Netherlands one day, man! Perhaps after the release of the third album we’re going to try and organize some gigs in the Western Europe, but time will tell.

Are you already working on new material? If so, can you already tell us something about it?

The new material has actually been finished. The creating process, I mean. We have ten brand new songs. The album will be a concept about the history of Zielona Góra. There will be some grim and terrifying stories from our hometown, which include serial killers, cannibalism, wars, witchburning, etc. As for the musical direction, it’s still METAL!!! However, this time we’ve decided to go a little bit outside of the blackened thrash frame and there will be some more influences, which you haven’t heard before in our music. I think the new stuff may surprise some people. The plan is to record it in late July and release it at the beginning of 2019.

Thanks for your answers! Is there anything you want to say to our readers?

Thank you for the interview and your support. I hope there will be a chance to chat about the third album. METAL TO THE BONE!!!

Warfist Facebook