Bay Area thrash titans, TESTAMENT, have revealed the cover art and details for their upcoming Dark Roots of Earth release! Artwork was painted by Eliran Kantor who has worked with such bands as SODOM, ATHEIST, SIGH. Dark Roots of Earth was produced, mixed and mastered once again by the world renowned Andy Sneap (ARCH ENEMY, NEVERMORE, ACCEPT, EXODUS). Special bonus tracks were recorded, mixed and mastered by Juan Urteaga (CATTLE DECAPITATION, HEATHEN, VILE, SADUS) at his Trident Studios. The highly anticipated follow up to their 2008 release The Formation of Damnation will be released on July 27, 2012 (Europe) and July 31, 2012 (North America) via Nuclear Blast Records.

Dark Roots of Earth Jewel Case CD Track Listing:
01. Rise Up
02. Native Blood
03. Dark Roots Of Earth
04. True American Hate
05. A Day In The Death
06. Cold Embrace
07. Man Kills Mankind
08. Throne Of Thorns
09. Last Stand For Independence

Dark Roots of Earth CD/DVD Track Listing:
01. Rise Up
02. Native Blood
03. Dark Roots Of Earth
04. True American Hate
05. A Day In The Death
06. Cold Embrace
07. Man Kills Mankind
08. Throne Of Thorns
09. Last Stand For Independence
Bonus:
10. Dragon Attack (QUEEN cover)
11. Animal Magnetism (SCORPIONS cover)
12. Powerslave (IRON MAIDEN cover)
13. Throne Of Thornes (extended version)
+ Bonus DVD
Article Information from Testaments Face Book Page: http://www.facebook.com/notes/testament/...3095768329

So, who is it that thrones at the top of the symphonic black metal genre, nowadays? As I said in my review of the latest Gothmog album, the genre is still very much alive and some bands are working their asses off to bring you some fresh, innovative and interesting music. One of these bands is the Dutchmen from Carach Angren. Their latest album, Where the Corpses Sink Forever, is being unleashed upon the world and it will strengthen their spot as the genre's best.

Describing their sound is fairly simple. Their brand of symphonic black metal is a highly theatrical one. Their albums feel more like a black metal musical, honestly. Their ability to create a sonic backdrop fitting the lyrics is more than impressive and the said lyrics are not a jumbled mess of words but truly do tell a story to the listener. Those who choose to forego the story will still enjoy the music but the lyrics are quite important in this case, as the music is meticulously crafted to suit each song which acts like the story's chapters. The band also seem to have a strange obsession with ghost stories and water, considering these themes recurring throughout all 3 of their albums so far (although less so on their debut, Lammendam). Either way, this is a sound that people will either be in love with or hate with much vehemence, the same way they do for bands like Dimmu Borgir (which unfortunately remain an inevitable comparison as soon as this genre is brought up) and other highly symphonic bands. Personally, I find a lot of similarities with innovative Japanese madmen Sigh, at least for the creepy atmosphere and desire to make their music sound more "sophisticated", as well as for the scope of their concepts.

To describe them in a single sentence: This is a broadway musical played in black metal. Indeed, expect a lot of symphonic sounds and some narrated bits but the ride is truly worth the price of admission. The band does not rely on cheap Casio keyboards in their attempt at symphonic music (sorry, Mortiis) but would rather use real symphonic sounds and the result of this is a highly organic sounding album, which is a much welcome thing in this genre, when one considers the slew of bands recording albums with crap production values and abysmally produced keyboards sounding like Fisher Price pianos. Here, Ardek's keyboard/programming skills are seriously put at work, creating once again some fittingly creepy-yet-beautiful soundscapes.

While I won't attempt to talk about the story since I don't yet have my physical copy of the album, I will at least break down the tracks and give you a summary of the album. After the unsettling introduction of "An Ominous Recording" which sets the tone for the album, the listening is immediately greeted with the first actual song "Lingering in an Imprint Haunting" and it's clear that this is symphonic black metal we're dealing with. The strings do a great job in the background and there's the appearance of choirs in the song as well but the guitar work is present and thankfully quite interesting. Rather than the tremolo picking usually associated with black metal, the guitar playing style of Seregor draws more from neoclassical techniques, fitting with the album's atmosphere. That's not to say the album is all fluff, because you will get faster sections and the band will remind you that Where the Corpses Sink Forever isn't a fluffy album of classical music, no matter how much it draws from that genre. With "Bitte tötet mich", you get an energetic track with an interesting, heavily lyrical vocal delivery from Seregor. As if that wasn't obvious from the title, "The Funerary Dirge of a Violinist" has some of the album's best string sections. It's also the album's longest track and the most epic one for me, at nearly 8 minutes and a half in length. "Sir John" is an oddball, with deep growls, maniacal laughs and a dynamic tempo. After the interlude of "Spectral Infantry Battalion", we get "General Nightmare", another deeply atmospheric track thanks to the keyboards adding a creepy vibe. The album wouldn't be complete without its killer closing track, "These Fields are Lurking", ending with a quiet violin and grand piano section which let the story come to its end beautifully. It definitely feels that you've listened to an audio story and it's quite a cool feeling, I must say.

As you may guess by now, I don't have a lot of criticism for the album but there is one point I would like to raise: solos. For some, they are indispensable while to others, they are superfluous and don't bring much to the music. For me, it depends. While I understand that the nature of their music makes it difficult to incorporate solos in the songs, I do believe that a few neoclassical leads or solos would have made some of the songs stick out more and likely would have made some songs definite highlights while as it is, the album feels more like one giant song. That's not necessarily a bad thing if you consider the storytelling intent but it may turn off some people. Although, keep in mind that I say this without having taken a look at the story/lyrics yet and that this might change once I do that.

If you hate keyboards and the thought of them driving an album's atmosphere repulses you, don't bother with this album or this band as a whole because this isn't for you. However, if you dig what some call "horror metal", enjoy ghost stories and have some black metal in your shelves (digital or not), then I highly advise you to check out Where the Corpses Sink Forever! It's too early to tell if it will end up revealing itself to be much better than Death Came Through a Phantom Ship but I can safely say that it's at least as good as that album. Time will tell for the rest. In the meantime, this album is an undeniable contender in my 2012 list for album of the year and definitely top 10 material. Carach Angren (still) are masters at their trade.

Final score: 4.5/5

MARDUK - Souls For Belial (OFFICIAL VIDEO). Taken from the album "Serpent Sermon". Century Media 2012. Directed by Håkan Sjödin.

Firstly, before I post this article I'd like to mention that it's actually geared towards indie bands but I think the concept can be applied to any metal band that tours. I know that metal concerts are intrinsically interactive considering the size of most venues and the amount of people attending shows. However, I think it would be really cool if metal artist allowed fans to create a set-list or make song requests in the middle of a show. I am personally a huge advocate of fan interaction and I think more (if any even do this) metal bands should involve fans in the shows. Wouldn't it be awesome if you went to see Meshuggah and they asked you to chose their set-list?!? I am interested to hear what you all think.

http://www.mtvhive.com/2012/05/08/umphre...tive-shows

This content was taken from http://www.mtvhive.com

Ever heard of Ascariasis? No, not the parasitic roundworm infection. We're talking about a band, here. A band made up of some young lads playing impressively unique metal with a range of influences inclusive of tech death, progressive, doom, metalcore and classical. Hell, there are probably plenty of others to name, as well. The point is, you won't be struggling to find out whether or not this band is trying to do something new, because once you hear "Shatter" (the first song) you'll recognize immediately that it is like nothing you've ever heard. Have they perfected their sound? Certainly not. This is merely an EP, and a remarkable first release. The fact that they manage to be so impressive on this 5-song release proves that they aren't quite there, yet. Of course, that's not a bad thing. If they improve upon this formula I will gladly tip my hat to them as one of the best modern metal bands around.

We had the pleasure of interviewing these guys a while back, and I recall that when they were writing/recording Ocean of Colour they were collectively anticipating how their music would affect people. Being around their age, I know that I would have felt the same if I were releasing my material for the world to hear in this sprawling musical scene. I'm a musician, as well, and I know I am not near the level of what these guys have put together. It just goes to show that anyone who practices enough to create a unique vision can succeed. Then again, that must be why I - and so many others - have yet to accomplish such a feat. I guess it's not so easy to do. Anywho, I digress; let's get on to reviewing this release.

Ocean of Colour is significant because it allows the listener to extract various elements without having one directly influence other. What exactly do I mean by that? Well, oftentimes when you listen to a metal album you enjoy it because it is able to use new elements or recycle old ones uniquely enough to give off a cohesive sound. It's not that this EP doesn't do that, because it certainly does, but it is one of the few times that I've listened to something and heard distinctive genres sound so separate from each other whilst working within the same parameters. Instead of letting everything meld together, they kept each unique element a tribute unto its own and somehow made it work as one composition. If that's still a little confusing, I'll just say that you'll recognize each and every influence as distinct from the other without sacrificing integrity. If you know anything about songwriting, you'll be experienced in how difficult that has become with so many artists on the scene these days.

In range from the superb guitar, bass, drum and vocal work what we have here is a metal marvel. It's difficult to praise any one of the instrumental elements over the other because the mix is done so well that everything shines through as it's supposed to - clearly intentioned in the way things are structured. Soaring guitar solos coupled with some of the heaviest, chunky riffing you'll ever hear are complemented by catchy and melodic phrases that act as transitory, yet concrete, elements to each motive or theme within the songs. Needless to say, it's hard to find anything to criticize. As for the bass and its presence on this album, I have to say that it takes an interesting approach. Many bands will find themselves locked into completely underwhelming the material by using their bassist as only a supporter, or they happen to make it so audible and commanding that it can feel like another lead instrument. Both approaches are popular, the latter being more conventional in metal, so it's a little interesting to hear a deft combination of the two on this release. The bassist plays an active role in beefing up the sound while having a number of distinctive moments, as well. When the playing comes through it shines, and as an underlier it is used very appropriately. As far as percussive elements go, whether the drums were programmed or not (I think perhaps they were due to a drummer switch somewhere along the lines, but correct me if I am wrong), they are masterfully done with clear regard for the unique nuances in the riffing of each song. There are many times where you can hear them working in tandem, and it's nothing short of a great pairing - especially since one enhances the other so aptly. Finally, the vocals are magnificent. For a band that uses some "core" influences, the deep and gutteral approach for most this album is what seems like a pretty rare treat amongst so many bands who are abusing the higher range approach. As far as structuring and delivery go, the syntax and lyrical content are pretty good. I can see both improving along with the vocals themselves rounding out a little more, but it's hardly appropriate to say that they fall short in any way whatsoever.

My favorite songs on the EP are likely "Shatter," "Eleven," "Ocean of Colour" and "Carving the World". "Torchbearer" is a great song, but I find it dwarfed by the others. As for what this band can do on their next release, I have to say that I anticipate their sound coming together just a little more. A full-length will also benefit them greatly, as this EP leaves a feeling of incompleteness in the listener. Aside from those aspects, if you're looking for a phenomenal technical and progressive metal release that doesn't rehash what's been done one-hundred times over, look no further. Ascariasis could be a big part of the future regarding experimental and innovative metal.

Final Score: 4.5/5

Please take the time to head over their their Bandcamp page and either download or buy their album. You can check out my absolute favorite from the album, "Carving the World," below.

We all have something we look for in our musical endeavors. Some people will tell you it's to vent out; another person will tell you it's to meditate and another could tell you it's to experience an array of different emotions. Myself, there are three main reasons for my musical endeavors and elements which motivate me to listen to music, be it metal or not.

1. Experiencing different emotions
2. Put myself in a certain state of mind
3. Discovering new feelings which I've never experienced before

All this may sound ridiculously complex or pretentious but in truth, it's actually very simple. A concrete example of this is that when I feel frustrated, I'll listen to more brutal music to channel out the energy and when I feel downhearted, I'll listen to stuff like Anathema or doom metal, to channel out that sense of sorrow. Music is truly a powerful catalyst. And then there are bands which evoke a certain set of emotions, be it from nostalgia, the atmosphere or from the pure feeling of the music.

To me, one of the perfect examples of this sense of purity in music is Norway's Winds.

For those who would not be familiar with this project, it involves some very well known and skilled musicians. First, you have Carl August Tidemann, best known for his guitar skills in metal avantgardists Arcturus. His technical/neo-classical style is always impressive and inspiring, especially on classic albums like Aspera Heims Symfonia (Arcturus). Then, you have Jan Axel Blomberg - better known as Hellhammer - on drums, showcasing his technical yet sensitive drumming skills (one listen to Winds' "The Last Line" is self-explaining; the passage around the 7 minute-mark is impressive, to say the least). On vocals, you have Lars Eric "Eikind" Si, who is less known but has been in Before the Dawn and had his own black metal project called Eikind back in 2004. His vocals are clean and clear and his contemplative tone and delivery fits the band's intention like a glove. To round things up, we have composer extraordinaire Andy Winter, better known for his work in Arcturus, Age of Silence and Subterranean Masquerade. His keyboard flourishes, beautiful piano playing and his grandiose orchestrations are the core of the band's sound and identity.

As you may have figured out by now, the band's sound could be roughly described as symphonic metal but that tag is a bit misguiding, as Winds have nothing to do with the plethora of female-fronted bands with operatic vocals. Winds are much more than that, drawing heavily of progressive and neo-classical influences, as well as a definite contemplative vibe to their music. That is furthered by the band's concepts, all based around philosophical ideas and the exploration of the being (hence their debut full-length album's title, Reflections of the I). Even the artwork is simple (usually centered around fractals) but reflects the band's concept as well, completing the circle.

When I mentioned the band's sense of purity in their music, I meant that instead of sounding pretentious and overblown, Andy Winter's compositions bear a sense of beauty and introvertion, enticing the listener to think and inducing inspiredness in them. I find inconceivable that any fan of metal with some interest for symphonic sounds would not enjoy songs like "The Last Line", "Fall and Rise" or "Where the Cold Winds Blow", all featured on this album, Prominence and Demise, Winds's 3rd album (not including their debut EP, Of Entity and Mind) and their most mature yet (unfortunately, perhaps their last one as well).

So yes, Prominence and Demise is a terrific record from accomplished musicians who managed to create a sound which is perhaps the closest to perfection, when it comes to meshing metal with classical music. Instead of having the orchestral sounds bury everything or the metal burying the symphonic backdrop, both the metal and classical sounds intertwine each other to create a whole. It often feels as though the two genres are dueting each other rather than competitionning themselves. The main criticism for the band has always been Lars E. Si's vocals, which can seem monotonous and unidimensional at times, but this album shows his most mature vocal performance yet, as "Distorted Dimensions" will show.

Truly a magistral work from a band which anyone with interest for both metal and classical music should be acquainted with!

Final score: 4.5/5

Clip of "The Last Line":

In case you didn't know, Summer Slaughter is just around the corner again and we've got the full trailer of bands that will touring this year. Check it out in the video below and see if the dates match up with a venue near you!

Sad news for many fans who fear an ever-changing lineup for The Black Dahlia Murder. Fortunately, Williams states that he will still be involved with writing and recording.

Whitechapel have kept many of their fans wondering what's going on in 2012, and this is the first rise we've heard from them since that little EP they released last year. Here's a new song off of their upcoming album, a self-titled effort due out on June 19th via Metal Blade. Below you can hear the song, see the album artwork and view the tracklisting.

I wouldn't consider this an official review or anything, as the compilation I got a hold of seems to not exist anywhere and is almost certainly a bootleg of some kind. Still, whoever made it knows his/her stuff. For RYM catalog purposes, I posted it with the Roots of Guns N' Roses release.

http://rateyourmusic.com/release/album/h...s_n_roses/

Quote:A quick disclaimer: My version of this compilation doesn't have the remixes. Instead, it has eight L.A. Guns songs split between their first two albums - some live, some not - and then a demo version of the Appetite classic "My Michelle".

The Hollywood Rose songs rock hard. "Anything Goes" is better than the studio version, "Killing Time" has an unsurprising LA glam metal feel to it, and "Shadow of Your Love" is like a proto-"Perfect Crime"/"Garden of Eden". The most noticeable differences from Appetite are the punkier drumming, the (pleasantly) sloppier vocals, and the increased amounts of shredding. All of this is good, and while the early material isn't up to Appetite, the punk/metal hybrid feel is a nice reminder that G N' R's influences weren't so polished. "Reckless Life" is almost like a Motorhead song rhythmically. "Rocker" - easily the best, and a forgotten gem - is just full of great guitar work and intensity. Izzy sounds constrained in G N' R by comparison.

The L.A. Guns material is more Motley Crue gang vocal styled and sexually pulsed, sleazy in the mid-'80s LA way. It's easy to see where G N' R came from listening to these two early works, one more punk/metal, the other more Sunset Strip. "Sex Action" and "Electric Gypsy" from the self-titled album are exactly as we know and like them, while the live tracks are earlier and more interesting. "One More Reason" is a great sing-along rocker. "Bitch Is Back" has a nice groovy riff. "The Ballad of Jayne" is a little bit of a letdown but it's exactly what '80s glam metal was about on the slower side, and L.A. Guns play that style well enough. "Rip and Tear" is another like "One More Reason", just tons of L.A. Guns fun. "Never Enough", the track I recognized best, sounds like something from Pantera's Power Metal in the context of the compilation, a little more stripped-down production-wise than the version I'm used to hearing. The live version of "Kiss My Love Goodbye" is full of blues-scale guitar soloing over cocky vocals and effortless riffing.

The demo version of "My Michelle" is bizarre. It certainly doesn't sound like Axl singing, nor can I be easily convinced it's Izzy Straddlin' or Tracii Guns. It's a far more glam, less punk version than the studio one we all love. It's not as good, but that's fine - if I wanted the studio version, I have it, as does probably anyone reading this review. Of all things, Axl's famous final yell of "Michelle!" at the end of the song is absent, which, combined with having this song as the closer, makes the compilation end on a very anticlimactic note.

Really entertaining compilation. Shame it's not the one listed here, nor is it listed anywhere on this site (as far as I know). If you want a historical glimpse into the key ingredients of one of the definitive American rock bands, this is for you.

Track listing:
Hollywood Rose
1. Anything Goes
2. Killing Time
3. Rocker
4. Shadow of Your Love
5. Reckless Life
L.A. Guns
6. Sex Action
7. Electric Gypsy
8. One More Reason (Live)
9. Bitch Is Back (Live)
10. The Ballad of Jayne (Live)
11. Rip and Tear
12. Never Enough
13. Kiss My Love Goodbye (Live)
Guns N' Roses
14. My Michelle (Demo)

Check it out below and prepare yourself for their new album, due out on June 26th via Roadrunner!

German funeral doomsters Ahab just released the title track of their upcoming album, "The Giant", for streaming!

Check out the song on the band's soundcloud and the album's fantastic cover artwork below:

So we finally have new music from Moonspell. Has it already been that long since Night Eternal? Indeed, it's already been 4 years since their last studio album and at last, we get a sign of life from the band. After Night Eternal and the following Lusitanian Metal DVD later that year, we had been without news from the band for a while after the tours. It would seem these men were hard at work, since their new album is actually a dual album affair! Yes, ladies and gentlemen, we get not one, but TWO new albums! Alpha Noir is the "pièce de résistance", being the darker and heavier half of the two and the one that is the main album. Oddly enough, Omega White is the second half which will only be available with the limited 2-CD edition, which is a very odd choice, considering that it's far from being a b-sides album; it may be a mellower affair driven by Fernando's beautiful croons but the quality of the songwriting does not let out in the slightest. More on that soon.

First, a word about the band and its history. I would like to believe that most metal fans are at least aware of this band's existence. Those are not definitely need to dig into them, because their impact on both extreme metal and gothic metal is quite heavy. Back in 1995, the release of their debut full-length, Wolfheart, made some waves in the scene. Bearing a new hybrid of gothic and black metal, the album is a true classic and a milestone for the genres it draws from (but don't listen to me, listen to Jonas Renkse, Sakis Tolis or Mikael Åkerfeldt, who all wrote some liner notes in a recent re-issue of that album!). Its follow-up, Irreligious, would also make some waves, with its singles who got quite a bit of airtime in gothic clubs and such ("Opium", "Ruin and Misery"). That's not to say that the band hasn't had its tumultuous times; albums like Sin/Pecado and The Butterfly Effect are still heavily debated by some fans for their shift in style and experimental nature. The band has never been the kind of band who does the same album over and over again. To be honest, while many were thrilled by the return to a heavier, harsher and darker sound with Memorial and Night Eternal, I still struggle a bit with those albums, myself. They've got their moments of greatness but also a bunch of songs which never did anything for me. I don't feel this poetic vibe that permeated through albums like Wolfheart, Irreligious, Darkness and Hope or The Antidote on them. As such, I feel that Alpha Noir/Omega White are very important albums for the band, as their 9th and 10th albums (if you don't count Under Satanae, which is just re-recordings of demos and the debut EP).

So yes, I was expecting these albums with much anticipation and my hopes were set high. Too high? Yes and no. I have to say, Alpha Noir is a tough album for me. What I can safely say, is that those who enjoyed the past two albums will likely dig this one just as much, as the sound is pretty much the continuation of these two, with a slightly more rockish vibe and a less atmospheric direction. The band seems to go for an in-your-face approach and seemed to toss the subtlety aside (songs like "Love is Blasphemy" is a good example of that; likely the most violent thing I've heard from the band in a while, maybe ever). While some of the songs do bear a nice atmosphere ("Axis Mundi", "Opera Carne", "Grandstand" and the amazing and bombastic "Sine Missione" which sounds like it could come from Septic Flesh!), there's not much keyboards to be found driving the sound outside a few bits and parts scattered around to create an esoteric vibe. This time, Ricardo (Amorim, guitars) drives the show with some incisive riffs and beautiful solos and Fernando is in surprisingly good vocal shape, as some of his harsh vocals on Alpha Noir show. Likely his best, most violent performance to date. I've seen some saying that his vocals sound strange on "Lickanthrope" (the first single from the album) and I do agree but I believe it was deliberate, to give it a different vibe and a more lycanthropic feel (just watch the video; it's quite an interesting visual experience) but I assure you, songs like "Love is Blasphemy" will put your worries to rest when it comes to the quality of the vocals. All that said, with over 5 spins so far, I definitely have some favorites ("Axis Mundi", "Lickanthrope", "Alpha Noir", "Love is Blasphemy" and "Grandstand") but overall, I would say it's a strong album, although "Versus" still does nothing for me and that Portuguese-sung song alright but not spectacular; they've done much better songs in Portuguese before (like the amazing cover of Madredeus's "Os Senhores da Guerra"). Still, the language changes nothing for me, since it's the song that I don't find especially gripping; even if it was in English, I would still not be a fan of it. As a whole, Alpha Noir definitely succeeds at what it aims for but personally, this sound is not the one I enjoy Moonspell the most for.

Time to move on to Omega White, the counterpart of the harsh journey that is Alpha Noir. Right off the bat, "Whiteomega" starts us off with a nicely groovy riff and Fernando's beautiful croon... and what a beautiful chorus! Ricardo again contributes with a beautiful solo here, as well. I feel right at home, here. Those like me, who have been craving for a return of Fernando's crooning and their brooding gothic metal of Darkness and Hope will definitely be served. Honestly, "Whiteomega" alone makes the whole of Alpha Noir pale against it. "White Skies" definitely has that Joy Division vibe to it which could be felt on their earlier, more gothic-rooted albums. It also features a guest vocal appearance by the wonderful, long-time female contributor for the band, Birgit Zacher (she also appears a few more times). "Fireseason" continues the ride with Fernando delivering one of his most fragile and interesting vocal performance ever. Definitely a standout track. I could gush on and on about each and every song on this album, as I'm absolutely in love with it and often play it on repeat. I will however mention "Herodisiac", another highlight with Birgit and Fernando together in a cool duet, as well as the rocking "Sacrificial" and the epic finale of "A Greater Darkness", closing the album in a powerful stirring of emotions (not that Omega White isn't one in its entirety!).

For a while, I wondered if I should review the albums separately because of how different and polarizing they are but after some thinking, I've come to the conclusion that they're two halves of a whole; one needs the other. While my personal taste makes me put Omega White on endless loop, Alpha Noir is equally important. Together, they are the perfect amalgam of what this band is and reveals its whole essence. I'm pretty sure that most people will end up loving one of the albums much more than the other but I would like to think that every fan will agree that both of them, while being in an entirely different register and a whole different order of ideas, are everything that this band have come to be known and respected for after 20 years of existence (indeed, they formed back in 1992).

As you can see, both albums are absolutely essential. The only thing missing that would have truly made every fan's day would have been to have Sakis (from Rotting Christ) guesting somewhere and have them in a duet (listen to Rotting Christ's "Among Two Storms"). As such, I strongly suggest every fan of the band to pick up the 2-CD edition because both of these albums are equally as amazing, displaying all of Moonspell's assets as a musical entity: poetry, darkness, emotion, eroticism and esotericism. Alpha Noir and Omega White are as irascible as they are fragile and volatile but one thing is certain: they are transcendental and 20 years after, the band is stronger than ever and remain a driving force in their genre (and in metal as a whole).

Final score for Alpha Noir: 4/5
Final score for Omega White: 5/5

Final combined score: 4.5/5

Clip of "Love is Blasphemy", from Alpha Noir:

Many of us have been wondering endlessly why there aren't more details about The Faceless' upcoming material. Well, as if it were a calling card, they've just released this video (with a lot of background noise ) to shed some light on the material, lineup and when the album should be out.

I went to this concert for one reason. I wanted to see one of my favorite bands in all of death metal. Nile? No. Hour of Penance. Since 2007 I've done nothing but crave more from them, as they continually match a level of consistency on each album that is bar-none for many other bands in the genre of brutal/technical death metal. Now, was I excited as hell to Nile? Sure, and I have no problem admitting that they were actually the better performance, but not for musicianship or better execution. There were some problems during a good, but not great, Hour of Penance set - and how can you truly compete with a band as big as Nile in terms of the equipment required to match their sound? Let's break down what I experienced.

Hour of Penance - 3.75/5

As I had stated before, Hour of Penance are truly one of my favorite bands of all time. From the ability to reproduce their sound so professionally on each album to the musicianship involved to create their unique trademark, they're a hard band to ignore in the metal genre as a whole. When I first heard The Vile Conception you better believe that I listened to it for months on end. At that point I reached back to their previous release, Pageantry for Martyrs, and felt a similar attachment despite the fact that they hadn't really found their true sound when it was released. Months later, Paradogma was released and recently we were treated again with their follow up to the aforementioned, Sedition. Being as familiar with all of those albums as I am, I was prepared to do whatever it took to see them live when I knew they were coming to the town I lived in.

Well, the date came around and after great performances from local acts Marasmus and Gornography (features the same vocalist as Diskreet), the band I had come to see was preparing for their set and soon I would become a victim of the onslaught set in motion by their music - or so I thought.

Let me stress that the guitarists, drummer and vocalist were absolutely spot on. There was nothing they did wrong themselves, but a few factors truly took me down a few levels from the experience I was expecting. The first issue is that they are from Italy. You may wonder why that's a problem, so let me clarify. When you're a foreign band coming into a scene that might not know you too well, don't expect to have your sound mixed perfectly. This, in essence, is the largest factor for why the music was a little less than perfect. Things were so muddy that I couldn't discern much of anything too well, other than the fact that from listening to all of their stuff so much, I knew that they were playing it right. The sound just wasn't coming across as it should have. Vocals were lowish and barely audible, and the guitar tones ran into each other more than they melded. Furthermore, it was clear that they were feeling a little out of their element being in the United States, but surely they can't be blamed. I would say that at least two-thirds of the crowd was just milling around on the upper level not paying attention to them. There was a group of about 20-30 of us on the floor, and if you compare that to the turn-out for Nile, it's pretty depressing. In many ways, it just seemed like this wasn't their night, and I believe, again, that it was because not too many people knew who they were. With a muddy presentation and lack of enthusiasm, it made their performance a little lacking, if not noticeably well-practiced.

I gave them a 3.75/5 for the ability to play their stuff to the extent of every audible note and for their courage to come and perform for a group of young and older adults who were only around to see Nile. The deduction in score is more to the tune of the overall experience, something I know could have been much better if they had been doing a home show.

Nile - 4.5/5

Nile is a band that I like quite a bit. Black Seeds of Vengeance, In Their Darkened Shrines and Annihilation of the Wicked are my favorite albums of theirs and I can't deny the unique influence on their music that makes it so intoxicating. I stated before that I was at the show for Hour of Penance, so it stands to reason that I should clarify that while Nile is a great band, I cannot listen to them for long periods of time. That's probably blasphemy to anyone reading this, but that's just how I feel. Regardless of the fact, though, that the band I had come to see was finished I could not in all honesty say I wasn't excited as hell to see Nile perform, so let's get on to that aspect of the review.

Nile doesn't require much of a breakdown. We know who they are and the talents they possess; especially in George Kollias, one of my favorite drummers. When they came out to begin the crowd I alluded to before had swollen to the size of what I would estimate to be 150-200 people (this is a small venue) - a stark contrast to the small amount who had gathered for the previous performances. Everything began with a foreboding Middle Eastern track to involve, right away, the atmosphere of the show. When the actual instruments erupted into the array, I knew I was about to experience a much better show than I had anticipated.

Nile were spot on in every aspect. By this time my neck was a little worn out from headbanging so much, but I was perfectly content with standing back to simply take in everything that was going on. I think the coolest thing I can recall is the fact that Karl Sanders was absolutely one of the nicest dudes to watch. Not only could you tell that he and the other guys probably love playing smaller venues, but the way he was smiling on stage and interacting with the crowd spoke of the dedication and happiness found within playing the music for their fans. He was even at the merch booth chatting with a number of people, and I think that's pretty cool.

The one thing that I have yet to mention, is how incredibly awesome their live sound was. In range from the tone of every instrument to the enthusiasm of the performance, I could not even begin to describe what it was like to be there. The venue was pulsating the energy of their music, and with the musicianship executed in perfect articulation it is no wonder so many people were excited for them to come out and play; not to mention, they also played a new song that should be up and coming from At the Gate of Sethu, something I am now very excited to hear. Overall, I have to go so far as to say that their live performance was done better than anything I've ever heard them convey in the studio, and that's saying a lot.

I gave their performance a 4.5/5 for surprising quality, energy and overall enjoyment. These guys should never be missed if you can go see them within reasonable distance.

Final Thoughts:

Here are some of my lasting sentiments. For one, let's hope that Hour of Penance gets a little more respect the next time they're playing at The Granada or anywhere in the US. They play blistering death metal and remain unique in doing so. I should hope that their next trip here is a much better one. Let's at least say that they are definitely in control of the material they play. That still made it very enjoyable to see.

As for Nile, all I can say is that I'll definitely go and see them any time they're around. They were truly one of the best live acts I've ever seen.

Below you can find photos from the show and some video clips of the Nile performance.