Gates to the Morning is a band project that originated in the bedroom of Sean Meyers. With the debut album, Return To Earth, Meyers now set sail for the whole wide world with a wide range of styles in his backpack. He started out as a jazz musician - his influences range from Art Blakey to bands like Opeth and Tool - and he labels the music of Gates to the Morning as Post Black Metal. Return To Earth is an invitation, especially for those listeners who want their music spiced with strong theatrical and storytelling elements. A listener, with a predeliction for concept albums, that likes to take, in the etheral atmospheres of a panoramic musical landscape, a mind trip. On Return to Earth you can hear the love for fantasy, for Tolkien, the love for grand gestures. Return to Earth takes one on a journey of life; an encounter with many challenges, inevitable disappointments and victories. A musical journey, Mahlerian in ambition, that eventually leads to self-realization and enlightenment.
 
For what the genre-name Post Black Metal is worth: Return To Earth is a record that surely will appeal to the lover of symphonic rock. The album provides mood-creating soundscapes that are broken open by changes in tempo and atmosphere. A carefully prepared musical meal, a skillfully built theater of kaleidoscopic sounds in which Sean Meyers gets help from studio engineer Kevin Antreassian (The Dillinger Escape Plan). Return to Earth is an exciting musical enterprise that doesn’t go where nobody went before but where its creator succeeds in making his personal and musical interests and preoccupations palpable for the listener. Towards the end of the album, that journey loses some of its momentum and its excitement. Atmosphere goes at the expense of musical substance and variety. Here some more "Art Blakey" instead of "late period-Opeth" would have kept the tension arc better. Album closer is the title track, beautifully sung by Meg Moyer, with which this journey, the accomplishment of what once started in the intimate environment of a bedroom, ends in a great and magnificent way.
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Happiness & joy because PANDEMMY releases new material and the Brazilian metal band again does not disappoint. After the fantastic "Rise Of A New Strike" from 2016 comes Obliteration, a split-record with Italian metal band ABSCENDENT. The opening Monstera may sound a bit like an atmospheric warming-up with a not too strong musical aftertaste,  the follow-up, however, is ear-shattering. In the music of PANDEMMY a lot happens; the grunt is deeply buried in the music but the relative lack of melody in that department is sublime complemented by the instruments; the  inventive melody lines coming from the guitars (shredding as if they play their own metal variations of Flight of the Humble Bee) fill in an important part of the songs and the shifting  time signatures are breathtaking. PANDEMMY is total music in which the several influences are not too difficult to trace (from Carcass to Megadeth, see also this interview with the band), but these are absorbed in one organic whole in which the sum is many times greater than the parts. 

Four new songs and a Motörhead cover (Them Not Me from 90s album Overnight Sensation thrown in the trash metal shredder) are PANDEMMY’s contribution to Obliteration and in those songs happens more than on many other bands' full albums. PANDEMMY condenses their ideas into bold, catchy songs that can best be described as mind-expanding knuckle sandwiches. Just like with "Rise ..." the songs (and yes, it's a pity they're no more of them) ultimately string together as movements in a metal symphony. 

In the same ultra-heavy niche as PANDEMMY we have ABSCENDENT. The Italians stay more at the trashy side of things than their Brazilian colleagues, their metal sounds a bit less hallucinatory, but also their songs kick frantically ass. They also bring four own songs to the show where the final cover -Spirit Crusher of death-metal legends Death- can be considered as an ultimate prove of metal competence. On Obliteration death breathes life. It energizes and makes one attack the day like a bird of prey. A mind blowing metal heist. 

DIABOLOGY are a teenage thrash metal band from Los Angeles, CA. Members Jesse Bergen (guitar and vocals), Jack Kleinman (guitar), Aiden Wogh (bass) and Matthew Morales (drums), met up on the rock school circuit. They were united by a love of metal and a desire to break out of the rock school mold to start working on original material. Defying the many subgenres of metal, they choose to simply call their music thrash, a tribute to the old school sounds of the late eighties, with a young and refreshing voice.

Check out their music in the links below. From the epic Seas of Eternity, a sledgehammer of a tribute to the death metal legends of Deicide to a moving, and hilarious,  About You (metal hugs are the best!)

With a nu-metal after taste, with echoes of Korn and Helmet, comes the music of SALEM TRAILS. They sound fresh -don’t let the references to the aforementioned bands that have their base in the 1990s make you think otherwise- and kick serious ass, both music and lyric wise. 

The lyrics of their new single Rotten Path, address depression, regret and suicide. The band is committed to donate sales from this single to Kids Help Phone.
​Rotten Path is up for purchase on iTunes and Band Camp. 
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From Wales comes Paraskenia. A metal band that released with "When Darkness Falls" their debut single. An interview with singer Lee David Bowen who likes to traverse the worlds of opera, musical and metal. 

​Now you sing with Paraskenia next to opera/classical repertoire (and musical) also metal. What was there first: your interest in opera/classical music or your interest in pop/hardrock/metal?
As a teenager I was a massive metal fan and loved anything to do with Iron Maiden.  My favourite albums being Powerslave, Iron Maiden [their self titled debut] and Killers.  Halloween's Keeper of the Severn Keys Part one & two were also favourites of mine for the drama and storytelling.  I was lucky enough to see both these bands live during the 80's and 90's.

Growing up in Wales, "The Land of Song", I was also introduced to classical music at a young age and the first opera I saw was WNO's production of Tosca with its powerful opening had me hooked.

What are the technical differences for you between singing opera and metal?
The style of Paraskenia's music allows me to sing in the same way for both metal and opera.  I believe that good technique and building stamina are integral in both styles.  Having worked as a principal in the West End in The Phantom of the Opera. where we performed 8 shows a week and with many major Opera companies in the UK, I believe I have a good stamina so I'm not pushing my voice.

Do you need to take special care when singing metal (with amplified instruments). Do you (have to) take special measures to protect your voice?
It's all about good technique and not pushing the voice.  Also the other members of Paraskenia are knowledgeable musicians and understand the nature of both classical and metal singing.  Gareth Long on keyboards is an operatic bass (touring with Scottish opera at the moment).

Before any performance whether classical or metal I try to get plenty of rest and avoid alcohol.  I also find meditation and yoga really beneficial.

4. There is perhaps a tendency to held pop/rock music, from an artistic point of view, in less higher esteem than opera/classical music. How does that work for you? How do you value both? And do you encounter any prejudices against pop/rockmusic in your own classical music environment?
I haven't really come across much prejudice in the classical music world and generally find that most musicians appreciate all good quality music even if its not to their particular taste.  

5. What are your favorite singers? (Any genre possible.)
Bruce Dickenson (Iron Maiden),  Siegfried Jerusalem, Simon O'Neil, Sir Bryn Terfel and Stuart Burrows. 
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Paraskenia:
Lee Bowen – Vocals
Gareth Long – Keyboards
Andy Slade – Lead Guitar
Richard Emanuel – Rhythm Guitar
Ben Thomas  –  Bass Guitar
Ceiran Jenkins –  Drums

. What is the story (if there is one) behind the name Lelahell?
Lelahel (with one 'l' letter in the end) is an angel of the zodiac exercising dominion over love, art, science and fortune. We appeal to this being of light for good luck and good fortune. We added an 'l' because there is already an Italian rock band named Lelahel, and Lelahel is also my nickname so to make a difference between them I added a second 'l' in the end of Lelahel.
 
2. On both your albums you are telling the story of Abderrahmane. What lies at the root of this character? (e.g. religion, mythology, folk stories, real life events etc.)  
Each Lelahell release is conceptually linked to the character of Abderrahmane, yet focusing on another evolutionary step—another chapter in his own book. In the lyrics of our first EP "Al Intihar" Abderrahmane is tired of his own life full of constraints, so he commits suicide. Our first album "Al Insane... the (Re)Birth of Aberrahmane" deals with his rebirth. Our new album "Alif" is now focusing on Abderrahmane's first steps in his new life, just like a child learning to speak, walk, learning about the world around him. Yet this is full of foes and fears, that's why Abderrahmane needs to save himself from those dangers.
The root of that character is a pure fiction!
 
3. Is there a special reason why you choose to write your lyrics from the perspective of Abderrahmane? (What  inspires the band the most when it comes to writing lyrics?)
Abderrahmane is the name of my father (R.I.P) and my son. When it comes to writing lyrics we get our inspiration from our past experience, our daily life and everything around us (nature, society …)
 
4. What are your main motivations to play this kind of music (death metal)?
The main motivation is we like that sound, we like the sound of the guitars, we like the fast rhythms and the guttural vocals!  

5. What musician / bands made you wanted to play music yourself? What bands are of the biggest influence on your music?
The biggest influence is the old school death metal scene with bands such as: Morbid Angel, Cannibal Corpse, Deicide, Death and more …

6. Is there a metal scene in Algeria? And if so, what is it alike? (Does is know subgenres? If so, which of the subgenres are most popular?)
The metal scene in Algeria isn’t as new as people imagine, it exists since almost 3 decades. I’m one of the formers of that scene, and one of the last active survivors!
When we started in the early 90’s it was really difficult because we were the firsts, there was no models to follow, no experienced musicians to ask, no references,  but we were very ambitious  and motivated . Some years after in the mid 90’s it was the golden era of the Algerian Metal, a lot of bands were formed, a lot of people in the concerts, full support from government, … But 10 years later a lot of commercial musical styles appeared in Algeria, and the authorities were not supporting that music anymore because it was something ‘non’ conventional and ‘occidental’ so it was really difficult to find venues for that music and a lot of musicians have stopped playing because they approached the 30’s and preferred to focus on their life (job, marriage,…).
In 2018, things have changed. There are some new promising bands that were formed and have made some interesting releases, there are also more concerts but not enough, we are trying to change things with government to get more access to the venues, and why not create a big international festival! 
The most popular subgenre in Heavy Metal are Death Metal  and Thrash Metal.
 
7. What is the writing dynamic among members of the band (does only one person write the songs or is song writing more a band effort)? Does each band member bring their own specific influences or are all the band members into the exact same music?
I’m the only one who writes the music and lyrics. The band started first as a one man band, it is the right method since the begining of Lelahell, and maybe it will change for the future.

8. Lelahell's music has influences of Algerian folk music. Does the band (its members) have more influences outside metal?
We all listen to different music than metal, but we don’t use it in the music of Lelahell, we just add some folk scales and rhythms!

9. How do you see your own musical development? Are there musical areas that you still want to explore?
For the future we will focus more on the music itself, I mean the arrangements and the interaction between the instruments. We will add new sounds to the music of Lelahell. Stay in touch and you will see!
 
10. Do you believe that music (and heavy metal in particular) can be more than just entertainment? Can it be a force that can change things for the good on a larger scale? (Music as a mean that can raise awareness about, for instance, political and environmental issues.)
There are many people that consider it as more than an entertainment; it is a way of life in certain regions like Finland, Norway or Sweden.

Bonus question: do you have any specific goals in mind for the band (besides world domination of course)?
Our main goal is to create something in the music that people will remember it for a long time, for example a new sound or maybe a different way to play the music, or a new concept, or I don’t know something different.

LELAHELL's latest output, ALIF, is a follow-up to their debut All Insane ... The (re)birth of Abderrahmane.  ALIF tells the story, in music and lyrics (in English, French and Arabic), of Abderrahmane. A man who takes his first steps in his new life, like a child that has to learn to speak (again), to walk and has to learn about the world around him.  A world that harbours many dangers. 

With PARAMNESIA the album opens in kick-start mode and takes the listener from there. Caught in a desert storm of fiery riffs, with references in rhythm and melody, to Algerian folk music, the death metal of the Algerian combo massages the ears and cleanses, like good metal should, the soul from everyday's weariness. If the music on ALIF gives us any indication of the way Abderrahmane deals with the dangers he encounters we can consider the third track of the album, the contemplative instrumental THOU SHALT NOT KILL,  an aural depiction of a resolution made in vain.

ALIF contains aggressive and violent music, packed in tight instrumentation. The folkore references   (e.g. the intro of INSIRAF / MARTYR) bring colour in a musical world of black and grey and are used freely and thoughtfully. The result is always organic and adds significantly to the energy of the music. This is  heavy metal world music, one cannot help thinking of Max Cavalera's Soulfly, that leaves an ironclad groove in your brain every time you listen to it. And although the vocals stick to a staccato / hardcore grunt most of the time, the music contains a rich array of melody.  
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ALIF is knuckle sandwich death metal that comes with a lot of atmosphere. When we arrive at the last track, the instrumental IMPUNITY OF THE MUTANTS, we await a album-closener that sounds like an accumulation of everything that has passed us by in the nine previous tracks. It leaves us with the feeling (whether we were able to follow the lyrics or not) that we have been through a lot. That we've witnessed a story that came with an urge - as if it fought its way out to the world. A story that is not only  most pleasant to listen to but that is also worth telling. 

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LELAHELL:

RECORDING LINE UP for ALIF : 
Redouane Aouameur :  Guitars/Bass and Vocals
Hannes Grosmann : (ex-Necrophagist ex-Obscura, Alkaloid, Blotted Science): Drums

ACTUAL LINE UP:
Redouane Aouameur : Guitars and Vocals
Ramzi Curse : Bass
Slave Blaster: Drums  

ALIF by LELAHELL on Bandcamp >> 

Interview with Redouane Aouameur >>

London is calling from the crypt. No stranger to the music of Wagner, Strauss and Bruckner, British band Hex Morbidity deliver their black metal with a strong taste for melancholy. Their latest release entitled “Decree of the Nazarene” comes  with a lyric video that is available to view now.

As often the beating of the dark wings of romantism feels like a breath of fresh air. Enjoy!

Line-up:
Jarod Lawley - vocals and guitar
Torbjørn Jørstad - guitar
Demitri Levantis - drums
Arianna Mahsayeh - cello
Desirèe Catena - bass 

https://www.hexmorbidity.com/

​Surfing on the enticing waves of the New Wave of Brazilian Heavy Metal (named of course after The New Wave of British Heavy Metal from the 80s) THE DEVILS are coming to metal town. In 2015 the band released their first EP "First Time, Homemade" and with their newly released "WE ARE THE DEVILS" their first full album sees the light of day.
 
On the day of hearing their album for the first time, I've read about plans to give Buffy the Vampire Slayer a reboot and, in relation to THE DEVILS, the soundtrack of that series, the infectious guitartune of Nerf Herder, immediately jumped to mind. THE DEVILS deliver their musical output with the fresh energy of a punk act while delving deep into stainless steel repertoire of bands like Metallica and Motörhead (with "Skullking" and "No Bull" the album contains tributes to respectively Cliff Burton and Lemmy).
 
THE DEVILS is a band that knows its classics. On "WE ARE THE DEVILS" they draw from a rich range of influences in which the band members show themselves to be tight instrumentalists with singer Heron Ribeiro in the role of scream king. A singer who, both in the subject of lyrics (women) and the scope of his singing, occasionally reminds us of David Coverdale (for example in the first track "Light"). With rolling bass intros (Mr. Buddy), guitarsoli that reach out to Joe Satriani and Storm & Trash in the best Slayer-tradition (Madman), the boys show themselves devotees of the genre that know how to forge a metal song. With a band sound that is dynamic, organic and highly energetic, it's not difficult to imagine the live shows of THE DEVILS as  real parties.
 
Thumbs up for THE DEVILS, "WE ARE THE DEVILS" is top-notch hard rock/metal entertainment. Soundtrack for a hot summer, music for a cold beer.

Heron Ribeiro – Vocals 
Yan Barbosa – Guitar 
Murilo Larrubia – Bass 
Daniel Bins – Drums

Apart from the usual suspects that operate in the field of progressive rock, Rush and Dream Theater, Brighton-based Prog-metal trio Milk White Throat draws from influences that range from The Mars Volta, Neurosis and Tool to Tom Waits, Jeff Buckley and Nick Cave. 

For anyone who takes pleasure in listening to music that comes with shifting time signatures and chord progressions that go beyond the obvious.  

This is the lead single for their latest EP 'House of Fire'
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