Heavy Fucking Metal!
There's no understating it - Heavy Metal is something you live for; it's an obsession that breathes on it's own, consuming your thoughts. It drives you during your waking moments, and haunts you in your dreams.
Heavy Metal Nation is a place for satisfying some of that obsession - we provide opinions and articles on metal in all it's forms, including many genres that aren't metal, but fit well into your listening habits.
Not only that, but Heavy Metal Nation provides you with an outlet for your own opinions - if you think you can write an article, no matter the style, send it our way and we'll find a place for it to live.
Come on in, and take your obsession that much deeper. . .
Adelaide based groove metal act SE BON KI RA are launching their much awaited full length album IN THE WAKE OF CHANGE at Adelaide UniBar on Saturday 7th September and it promises to be an occasion to try to remember!
The celebrations will be helped along by Adelaide thrash metal masters Truth Corroded who will be previewing a song from their upcoming album in their live set on the night. Also playing are Infiltraitor who have recently released a brutal new album and are doing great things. Straight out metal heavyweights From Birth To Burial will kick the night off in style with their energetic, no holds barred take on the metal genre. The event is over 18’s only, doors open at 7.30pm and tickets are $15.
Event sponsors Derringers Music and Coopers Brewery have come to the party. All ticket holders of tickets bought before the show direct from the bands or at www.sebonkira.com will go into the draw to win prizes from Derringers Music including a Schecter electric guitar and Zildjian drum stick bags with sticks. In true South Australian fashion the party vibe will be assisted by $5 pints of Coopers Pale Ale all night!
SE BON KI RA’s new album IN THE WAKE OF CHANGE is a 15 track, 63 minute journey through stories about living. This album represents a long song writing process that has delivered tracks that stand alone and speak of the energy the band has put into its expression. Recorded here in Adelaide but mixed and mastered by Scott Atkins at Grindstone Studio in the UK (Sylosis, Cradle of Filth), IN THE WAKE OF CHANGE is a significant step up in production quality and musicianship from the band’s 2009 independent release One Thousand Ways To Be.
THIS LIFE I CREATE is the first track that was released from the album. Check it out here: https://soundcloud.com/sebonkira/this-life-i-create-heavy-metal-australia
Also released recently was a second track called NAILED INTO PLACE which is available here: https://soundcloud.com/sebonkira/nailed-into-place
Check out the official Facebook event page for further details about the launch show in Adelaide. https://www.facebook.com/events/506819369396284/
Following the launch event in their hometown of Adelaide the band will be taking the new CD with them on the road to as many capital cities as they can get to and a few regional stop-offs along the way. Dates in Sydney and Melbourne for two awesome events with killer bands have been locked in with more dates to be announced over the coming weeks.
- Fri 20th Sept – Bald Faced Stag, NSW with Recoil VOR (CD launch), Deprivation and Diablo Sonata https://www.facebook.com/events/409179395858713/
- Sat 21st Sept – Reverence Hotel, VIC with Dreadnaught (21st anniversary celebration), Frankenbok, Earth, Alarum, Desecrator and many more https://www.facebook.com/events/1401206023429497/
TICKETS ON SALE TODAY, TUESDAY JUNE 4th!!!
NILE with guests THE FACELESS and local supports performing at:
November 14th – The Hifi, Brisbane
November 15th – The Manning Bar, Sydney
November 16th – The Corner Hotel, Melbourne
November 17th – Amplifier Bar, Perth
TICKETS ON SALE TUESDAY June 4th FROM:
BRISBANE – www.thehifi.com.au
SYDNEY – www.manningbar.com , www.oztix.com.au
MELBOURNE – www.cornerhotel.com
PERTH – www.oztix.com.au / 78 Records
ALL SHOWS – www.soundworkstouring.com
Anyone who reads my reviews often will know that I don’t need originality to like someone’s music – who gives a shit if it’s not original if it sounds interesting, heavy, cool, or fucked up? And of course originality does not always mean that a band is interesting, cool or fucked up. When you find a band like Five Star Prison Cell, you don’t really have to think too hard on it, because they have the originality sorted pretty well, and they are definitely interesting, cool, and heavy, and they will certainly leave you feeling very fucked up.
The closest description I’ve heard for Five Star Prison Cell is mathcore, mainly due to the combination of technical riffs and schizophrenic time changes throughout individual songs, let alone the entire album itself. The tracks themselves are a baffling eclect of genres; one song will have a beautiful melody, the next will have no discernable structure other than raucous noise and sound. This is not the kind of music that has been inspired by someone else; this is the type of music that INSPIRES someone else. I could just see Mike Paton listening to this album and shaking his head with bemusement and wonder, and maybe even resentment that Five Star Prison Cell have captured with one album the type of deranged soundscapes he’s been tinkering with for his whole career.
The cover of the album is a reflection of the album – mainly sterile white, the band’s name is printed in a nice gold flowing script above the album name, yet the artwork is photography of a ball covered in random electrical and audio plugs and leads, creating a baffling tangled creation with no discernable sane purpose. Frustratingly, there are no track lyrics, although the pages of the booklet are helpfully numbered (that is sarcasm, for those who don’t read things in the manner I meant them to be read).
Do The World A Favour
Do The World A Favour beings with a guitar riff and drum section that is modified by production effect designed to make it sound like your radio is not on the station properly. This gives way to a crushing heavy riff and staccato lyrics. The effect feels like your being pummelled by heavy seas. The final result is fucking heavy, discordant riffage and screams combined in a way that caves in your skull with its incessantness. If you get motion sickness, you have been warned!
Obtuse: The Essence Of Indifference
When a band comes up with a track name like that, you know they are either creative, or they are trying to look like they are creative. In this case, it is not the latter. This track starts with similar crushing riff and drum combinations, although the drumming is more prevalent. The time changes interesting in that they seem to wrench your attention in every direction, yet they fit the song well, rather than creating obvious, defined sections of the song.
The speed of Marc’s drumming on this song at times seems impossible, while at other times Marek seems to be trying to fit in as many notes as he can before the next line starts. It’s all very busy. Added to that is the way Adam seems to be having multiple conversations with himself in different voices, and Cameron’s bounding bass lines, and you have yourself a song very fitting of the title obtuse.
Deloris starts with a sample that sounds like something moving very loudly and quickly overhead, like a jet or rocket, with the sound of an explosion, before the music kicks in. It starts out slower and sludgier than previous tracks, and only lasts a few seconds before a mellower sounding riff takes over.
This song is where you start to really hear a jazz-type mentality – almost freeform variations in their music without any seeming connection other than the precision displayed. In fact if it wasn’t so precise and fastidious, you’d think this was just a schizophrenic jam session recorded for posterity.
Lyrically, the delivery varies from a deranged sounding clean vocal; almost like some drunk trying to be as sleazy sounding as possible; before changing back to heavier rough metal vocals. When the rough vocals kick in, the heavier riffs come back with it and stay for the remainder of the song. The clean vocals, however, pop back at seemingly random intervals, and at times sound like taunts – it has a definite “nyah nyah nyah” feeling, like an obnoxious toddler. Very strange, and very interesting.
Army Of The Vigilant
A very brief clean guitar strum opens this song, before quick fire riffage and drums, then back to mellower sounds. There are samples of vocals in the background of this song, like voices intruding on your perception. The clean vocals on this track feel very frantic, like someone thinking at a million miles an hour. One of the few lines that can be made out clearly without needing to resort to lyric searches is “You may win the battle, buy you’ll never win the war”, which is repeated over and over again – like someone with poor coping mechanisms trying to convince themselves that the setbacks they are experiencing, caused by whatever imagined enemy, are only temporary.
Again, this track has reality distorting tempo changes, with a very slow section in the middle comprised of subdued drumming, distorted bass humming, and loudly whispered lyrics. This is replaced by a much heavier (although slow) section that feels like rising anger (especially with the lyrics getting more yelled than whispered). The tempo picks up and slows down four or five more times, with the vocals changing in style each time, from demented clean vocals, loudly whispered rough vocals, deep screams, and almost everything in between besides guttural churnings.
This track is about the only one so far that I’d venture an interpretation of, based mainly on the randomness of it, the names, and the few lyrics that you can hear sampled repeatedly over each other. Based on those few things, it seems to be about someone battling multiple personalities (ie an Army), with different personalities in charge of the mood (therefore the changes in tempo, volume and instrumentation). It’s not a lot to go on, so listen for yourself and make your own decisions.
Pinholes is dominated by pinch harmonics, rumbling bass and a combination of rough droning vocals throughout that are punctuated by cleaner vocals that are still hard to discern in their own right. There are brief quieter sections that only contain cymbals, but these are just as disturbing given the context of the rest of the soundscape – they sound like a combination of someone frantically trying to think of how to avoid the chaos that follows, or a threat to bring on that chaos. It’s a very clever use of instrumentation to deliver emotion and complex thoughts in a song, rather than the lyrics themselves.
The beginning of this track is about as Jazz as you can get in a metal song without it being a jazz song outright. The drum line and singing sounds like it could come directly from the 50s. This gives way to a full metal onslaught just as the name of the track pops up in the lyrics. Later in the track this in turn gives way to a section that could probably be described as funk, with a bass sound that would not go amiss on a Primus album. It’s a very heavy song characterised by periods of lightness.
Asleep In The House Of Fables
This is a much more melodic song, in that it actually contains melody that exists for the length of the song (which is only a minute long). To some it may seem out of place to have such an instrumental song in the midst of such discordant chaos, but it actually fits the rest of the album very well – it’s yet another part of the album that seems like it should not belong, yet has been jammed in to place in such a way as to make it fit.
M is back to the onslaught again, with full on drumming and wall of sound from the drums and bass, complete with pinch harmonics, and screaming vocals that are so deep at times that it sounds like the recording equipment can’t capture it properly. Almost a minute in there are sections that sound like a duel between bass and guitar, with one giving a few notes, then the other replying with something completely different.
The lyrics themselves are totally beyond comprehension, and you get the impression of claustrophobic from the whole combination, as if it is from the point of view of someone who has found themselves trapped in a closet and can’t get out, or has been buried alive. There are periods of intensity following by slower sections, as if catching breath for the next onslaught. The speed of this increases to the last seconds, as if expending the last bit of breath left.
The Rise And Fall Of Red Sparrows
This has a groove-laden opening that id very catchy, and then a surprise – a guest vocalist Rebekah Chapman – who has a really nice clean vocal style that makes Adam’s style seem all the more demented. This track is definitely not as heavy as other tracks on the album, and has a fairly normal song structure with melody as opposed to wildly varying tempos and time signatures. It is a good break up of the album.
Slaves Of Virgo
Slaves Of Virgo begins with a drum beat and vocalisations that come with a very quick tempo, which the full riff duplicates. The song is over relatively quick for a song on this album, with just over 2 minutes of nonsensical blatherings, bass and guitar duelling (with plenty of pinch harmonics to break up the drone), and drumming that may be inspired by Ritalin.
The Harridan Marathon
The Harridan Marathon is the longest song on the track, and starts out very slow, with just an acoustic guitar line, which is soon drowned out by the encroaching riff from the amps on full feedback. This track has a real doom style feel to it, before the fevered lyrics kick in. Probably the best way to describe Adam’s delivery is of someone who has too many thoughts to deal with, like it’s just all too much to organise.
Compared to the rest of the album, this song is quite subdued – the drumming is understated, the riffing is slow and ponderous, and the lyrics are not as dense, without the feeling of 5 different voices speaking all at once.
The track ends with the same acoustic guitar line after everything fades down and out of the mix.
There are people who won’t like this album, and there are people who won’t understand this album. I’ve not addressed the lyrics on this album (not just because you have to hunt the entire length of the internet to find them), since it is not so much what is being said that is important, but how it is delivered.
The musicianship of Five Star Prison Cell is top notch, and the production on this album certainly does the songs justice – you can imagine the waste of time it would be trying to experience this album if the production was terrible.
The final verdict is that this is a challenging album that is delivered very well, and while some people just won’t know what to do with it, this is an album that should bring you both enjoyment and weird you out at the same time.
You’ll want to scour the internet to find this album – Five Star Prison Cell have disbanded since I wrote this review (but somehow I never published it). Well worth the effort.
Direct Touring Presents
‘INHERITING THE SICKNESS’ AUSTRALIAN TOUR JULY / AUGUST 2013
Two of Australia’s most heavy and infamous acts – PSYCROPTIC and KING PARROT - team up for the first time on the ‘Inheriting the Sickness’ tour this July/August. In what is bound to be a notorious and ruthless run of shows, the supports for each will be hand-picked by Psycroptic and King Parrot themselves, ensuring the highest of quality line-ups and unquestionable total bang for your metal money!
Hailing from the remote island of Tasmania, Australia, PSYCROPTIC have progressively carved a niche of their own within today’s overcrowded metal scene. Staying clear of trends, PSYCROPTIC incorporate many elements of music – extreme and otherwise – to capture a sound that is uniquely their own: a precise blend of brutality, intensity and groove. The result being: Australia’s most respected and recognised metal act worldwide!
“I’ve never felt so personally threatened by a record before”
Tom Volcanis – Hysteria Magazine
It’s quotes and comments like these circulating in music circles that earned KING PARROT the reputation as the most lethal and extreme new band in Australia. After two years, and many hours confined to a tour bus on hectic touring schedules, the result is the debut long player, aptly titled Bite Your Head Off – and the album does just that.
PSYCROPTIC with KING PARROT and local supports PERFORMING AT:
- Thursday July 25th – Ballarat / Korova Lounge
- Friday July 26th – Geelong / Barwon Club
- Saturday July 27th – Melbourne / Northcote Social Club
- Sunday July 28th – Melbourne / Musicland (ALL AGES)
- Thursday August 1st – Newcastle / Cambridge Hotel
- Friday August 2nd – Sydney / The Stag
- Saturday August 3rd – Brisbane / Crowbar
- Sunday August 4th – Toowoomba / Norville Hotel
- Saturday August 10th – Hobart / The Brisbane Hotel
The Australian Heavy Metal outfit PEGAZUS have announced today that they proudly introduce their new vocalist AXEL WINTER to the Metal community. Axel will replace Justin Fleming, who could be heard on the debut album and the latest release “In Metal We Trust.
Guitarist and founding member Johnny Stoj about the singer-switch:
“Although we are laid back Australian guys, we have always approached our music with 100% dedication, passion and loyalty. Heavy Metal music and our fans deserve nothing less than that. This has always been like this for us and that will never change.
When you are in a band, you have lots of commitments: you have to give 100% on and off stage, you have to keep improving yourself as a recording artist and entertainer, you have financial responsibilities, you have to be loyal to your band mates and of course the fans, you have to be available for the band on all occasions … I’m very thankfull that we have found this all back again in Axel. He came on our path, we have been rehearsing and he fitted like a glove”.
Stoj about the near future :
“We were already working on our next album and this process will only go faster now. So, you can expect new music and lots of touring. We are fired up, ready to go and the world will meet the Thunder From Down Under again very soon !”
Brutal Western Canadian death band XUL whom are in studio recording their follow up EP to their debut album ‘Malignance’, which available for FREE DOWNLOAD here. (http://xulmetal.bandcamp.com/album/malignance) are proud to reveal to fans their new logo.
“We knew at some point during our time together that we would end up changing our logo. This is the third time our logo has changed, but this time, we believe it will be permanent. Bill Ferguson our guitarist created the other two using graph paper, so we decided to get the new logo done professionally. It coincides with our growth not only as musicians, but as a group, as we have spent a lot of time together over the past four years. Artist Chris Horst did an excellent job and we think it turned out awesome. It keeps the theme of our old logo but brings some new complimentary elements together as well. This will make for a somewhat simple transition from old logo, to new. This is a new chapter in our musical journey and to document it, we felt this was the best decision, we hope everyone digs it!” comments vocalist Levi Meyers.
If you’re a fan of Behemoth, Dissection and Immortal this is one album not to be missed as the band forges their brand of Blackened Death Metal.
Track Listing – Malignance
1. Battlestorm 04:27
2. Mastication of Putrescent Empyrean Remains 05:14
3. Porta Noctis 05:08
4. Vengeance 03:28
5. Winter’s Reign 04:26
6. Hordes of Black 05:29
7. Incinerate the Earth 04:17
8. Tomb of Tyrants 05:54
Lyric Video – Mastication of Putrescent Empyrean Remains – http://youtu.be/-a7YGnCqIhI
April 20, 2013 – Calgary, AB – Dickens Pubs – 4/20 Fest
April 24, 2013 – Vancouver, BC – The Biltmore Cabaret w/ CHAPEL/AUROCH/ABSU
July 19-20, 2013 – Armstrong, BC – Armstrong Metal Fest – Show Details
For more info on XUL, please visit these links:
“Soilwork assaulted the crowds with their merciless metallic wall of noise, wringing every last ounce of energy out of the black-shirted masses” (the AU review)
Sweden’s SOILWORK have long been regarded by many as pioneers of melodic death metal. Alongside fellow Swedish acts such as In Flames and Dark Tranquillity, the band’s unique blend of melodic metal is a fusion of the classic Gothenburg Sound with power-groove riffs that were prominent in 70’s and 80’s British and European metal.
SOILWORK have been working from the ground up developing and honing their sound for close to 20 years now. Their latest album, the just released and first double album in death metal history, ‘The Living Infinite’ features soaring melodies via the identifiable dual gruff/clean vocals of Bjorn ‘Speed’ Strid, intricate guitar work and a supremely tight rhythm section that has became their signature sound. Often imitated but never duplicated.
Playing to sold-out crowds on their last Australian visit in 2010, the band delivered a monster live show for their ever growing legion of fans. Returning to our shores, the metal powerhouse that is SOILWORK are sure to bring a skull-crushing, heart-pumping show even that is even bigger than the last.
“the mosh pit became a fevered frenzy of flailing limbs and heaving torsos” -Faster Louder
TOUR DATES: October 2013
Wed 2nd-The Hi Fi, Brisbane
Thu 3rd- Manning Bar, Sydney
Fri 4th- Billboard, Melbourne
Sat 5th- The Gov, Adelaide
Sun 6th- Rosemount, Perth
Tickets only $59 + bf. On sale Fri 15th March from metropolistouring.com Exclusive VIP Meet & Greet Packages available for each show
The Living Infinite: Available now thru Riot Entertainment
Dave Mustaine brings legendary thrash-metal pioneers to his own label with Universal for first time, uniting with his multi-platinum Capitol/EMI catalog
With worldwide sales of more than 30 million, and a seat at the top of the headbanging pantheon. Megadeth is a force -Billboard
LOS ANGELES, Feb. 12, 2013 -For a heavy metal band that’s been around for nearly three decades, selling more than 38 million albums worldwide, earning numerous accolades including 11 Grammy® nominations, scoring five consecutive platinum albums-including 1992′s two-million-selling Countdown to Extinction -Megadeth’s founder, leader and primal guitar-slinger and lyricist Dave Mustaine feels the best is yet to come, especially after signing an exclusive worldwide deal with Universal Music Enterprises.
Currently working in their studio in San Diego on their 14th studio album titled Super Collider, Mustaine, along with bassist Dave Ellefson, drummer Shawn Drover and guitarist Chris Broderick, are looking forward to its release in June 2013
Megadeth’s Super Collider is the first release through Mustaine’s new label, Tradecraft, through UMe.
“It was a real thrill for us to learn there was an opportunity to join Universal,” said Mustaine during a break in the sessions. “It seems like every time you see a great band or music video, it comes from the Universal label. Being with Universal is by far the most exciting and prestigious home for Megadeth ever! We are electrified with what the future holds and the possibilities such a powerhouse like Uni will bring for us all. We have worked with some great people over the years, and it is amazing to see so many of them on the Universal team for our new record, Super Collider. If Megadeth being here isn’t satiating enough, having Tradecraft as my own label is going to be really amazing for metal bands around the world.”
With a newfound energy with the band, Mustaine is raring to go, preparing for his latest tour, marking the 20th anniversary of their best-selling Countdown to Extinction album. Mustaine added, “Shawn, Chris and David have all been feverishly contributing some great music and I believe we are doing our best work ever together in the studio right now!”
“Megadeth is not just one of the most successful metal bands, but one of the most influential rock bands of the past 30 years,” said UMe President/CEO Bruce Resnikoff in making the announcement. “They continue to be a huge draw on the road with their longtime fans as well as continually adding new fans. I look forward to working together with them.”
Mustaine formed Megadeth in Los Angeles in 1983, and with a string of five consecutive platinum and multi-platinum albums Megadeth became one of the biggest bands of the mid-’80s and ’90s, boasting such arena anthems as “Symphony of Destruction,” “Peace Sells, But Who’s Buying,” “Holy Wars,” and “Sweating Bullets,” along with the top singles in 1997/98 off Cryptic Writings, “Trust,” (No. 1 track) “Almost Honest,” “Use The Man” and “A Secret Place.”
With the recent acquisition of EMI, UMe now brings together Megadeth’s classic, 14-year, seven-album Capitol catalog, which includes one multi-platinum release (’92′s Countdown to Extinction), four platinum records (’86′s Peace Sells… But Who’s Buying?; ’88′s So Far, So Good… So What?; ’90′s Rust in Peace; ’94′s Youthanasia), and one gold (’97′s Cryptic Writings). In all, the band has scored five Top 10 albums (including 2007′s United Abominations and 2009′s Endgame) and two Top 5 releases, with 2011’s TH1RT3EN debuting at No.11 on the Billboard Top 200 and No.1 on the Billboard Hard Rock Albums chart.
Dave Mustaine, Shawn Drover and Chris Broderick recording tracks for album #14 at Vic’s Garage studio in San Marcos, California during the first week of January 2013.
- August 2013
- June 2013
- May 2013
- April 2013
- March 2013
- February 2013
- January 2013
- December 2012
- November 2012
- October 2012
- July 2012
- May 2012
- April 2012
- March 2012
- November 2011
- October 2011
- September 2011
- August 2011
- July 2011
- June 2011
- May 2011
- February 2011
- January 2011
- December 2010
- November 2010
- October 2010
- September 2010
- August 2010
- July 2010
- June 2010
- May 2010
- April 2010
- October 2009
- August 2009
- June 2009
- April 2009
- December 2008
- November 2008
- September 2008
- August 2008
- June 2008
- May 2008
- April 2008
- March 2008
- February 2008
- January 2008
- December 2007
- November 2007
- October 2007
- September 2007
- July 2007
- June 2007
- May 2007
- April 2007
- March 2007
- February 2007
- January 2007
- December 2006
- November 2006
- October 2006
- September 2006
- August 2006