Label: Bakerteam Records
Review by Tony Cannella
Are you ready for some Horror Metal? That is the name of the new album from Italy’s masters of the macabre, Cadaveria, and that is exactly what you get. Actually, “Horror Metal” has been out for about a year, but it has just received the re-issue treatment (dubbed the “UnDead Edition”) with a couple of re-mixed versions of songs as an added bonus. This is actually their fourth album but their first since 2007. Cadaveria mixes elements of Gothic metal combined with thrash, death and black metal, stir it up and you get “Horror Metal”.
“Horror Metal” (UnDead Edition) is a 60-minute dark, gothic, melodic and often times chaotic whirlwind of an album. The almost 7-minute opening track “Flowers in Fire” sets the tempo and the course “Horror Metal” is about to take. Continue reading »
Label : Wormholedeath/Dreamcell 11
Review by Davide Torresan
DyNAbyte is an Italian industrial metal band formed in 1998. Their monicker is the fusion of the words “Dynamite”, “DNA”, and “byte” that can suggest you the sound of this trio (vocals, guitars and bass). After a pair of demos, Cadaveria, the famous singer of her homonymous band, joined the band replacing DyNAbyte‘s first singer. She has a voice more aggressive than the previous member, and the sound of the band changed becoming heavier. In 2004 they released their first album, “Extreme Mental Piercing”, in which they covered Led Zeppelin with the famous “Immigrant Song”. This album is sold-out, but you can download it for free from their official website.
This one that i’m going to review is their 2nd release: “2KX”. Curious title, isn’t it? The explanation of this name is the release’s date: 10/10/10. It was a Sunday, an unusual day to release an album. When you listen to this album, you’ll be overwhelmed by songs with a strong impact. Continue reading »
Interview by Connie Bach
Translated by Disgraced
Released on Wormholedeath, Mechanical God Creation’s album “Cell XIII” is all finely-tuned fury. There is nothing but steelyaggression in MGC‘s brand of well-crafted death metal. Hello, Lucy.
HI!!!How did you come up with the dark topics “Cell XIII” discusses?
The album was born from the wish to express our inner, undeclared and huge anger. We have thought about how our society denies us the possibility to free and vent our inner rage, if not only in determinated occasions, as a matter of fact we’re all chained to this concrete armchair, as was Prometheus to the mountain. From this analysis we’ve decided that it was time to let our voice be heard and represent this huge and inner force.Would you say, that the combination of powerful lyrics and powerful instruments creates a kind of chemistry? Is it something that feeds itself, and you, on a deeper level?
We tried to make music and lyrics fit together in order that no one of them abandoned each other. It was like we have tried to weave a well-stichted and tight texture that oozed all this aggressivness: the more the music was getting violent, the more my voice and my vocal lines were becoming aggressive and violent!How did “Cell XIII” build on the foundations the band already had? How does it reflect where Mechanical God Creation wants to go?
“Cell XIII” helped us to find the perfect way to develop a composing process, a musical alchemy that sadly has been lost later on, since some members left the band. Of course the work done didn’t lose its value: it’s been the ground for a great, personal growth that will surely be useful for the nex record and that will help me going on on my musical road. Neither me nor the other MGC will stop, on the opposite we’ll get better and better with the new line-up!Specifically, what does the name “Cell XIII” refer to?
As I told you before, we started exploring the world of repressed anger where the body acts like a cage: the word “cell” comes from here and also the artwork leads to that concept, actually there’s a person chained up in a cell. “XIII” has an esoteric and symbolic meaning, according to a worldwide tradition: it’s an ambiguous number open to a myriad of interpratations and it represents the human duality, our inner and outer self.Lucy, from your personal point of view, how does Mechanical God Creation differ from earlier projects you have worked on? Is there one thing you would bring from the past experience? If so, what?
MCG is a more personal project, I feel it mine more than the others because I created them out of nothing; I founded this band to try and create something new, something that was only mine in the world of extreme music. This is my band and not a band that I simply joined! The past lives on as a legacy in terms of songwriting and live experiences, professionality and a huge care for those details both musical and non-musical that gravitate around the band. Moreover, past experiences obviously help you to deal more easily with some situations and people and so they allow you to better understand what’s going on. What nowadays is often denied is basic, without any doubt, to build an important project!
This question is for each member of MGC to offer input on. If each of you had one artist who influenced you the most, who would he/she be? Why would you choose them? Each of you probably has a different, individual answer.
Lucy: The first artist who inspired me the most was Cadaveria: I liked her vocal style a lot, very aggressive but with a feminine touch nevertheless.
Veon: There are surely three artists who had a big influence on me, which are Jaco Pastorius, Steve Di Giorgio and Jeroen Paul Thesseling. They have been in bands that I always loved. Another aspect that influenced me a lot stylistically and melodically has been the one of bringing bass-playing to a new level: not only a rythmic one but something inbetween rythmic melody and soloist parts.If you all agreed upon a dream venue (even if it is one that does not exist yet), could you describe that ideal show, line-up, concert venue, etc.? This is sort of meant for those interested to get a sense of how you all can put this image together, by working with each other, the same way you do with a song.
Well, playing Wacken is always a dream. I’ve been there as a fan and I can say it’s a very cool festival, so many people and interesting bands. But there are of course a lot of other places where we’d like to play. Our biggest love, so to say, are big open air festivals. Now I won’t list here all the bands we’d like to share the stage with… way too many!Another one for all of you to contribute to. What goes through your head the moment you finish a gig?
When the concert is over and you go downstage many emotions always linger on: in front of you there was someone who was there to listen to you, who was searching for something in you, who wanted to find a strong emotion in your music and therefore you hope you managed to communicate all that. You hope you played a great show, something unique because after all every gig is unique and unrepeatable and so wonderful! I take the chance to thank everyone who follows us and all those who support us in what we do!What kind of people seem to connect with MGC’s music the most? Why do you think it happens?
I think that MGC‘s music can appeal to several kinds of listeners: of course lovers of classic extreme metal as well as modern one and in general to whoever craves for a surge of adrenalin and wants to hear something fresh and new for some aspects. Last but not least, why not?, I think we might be appreciated also by those who want to rediscover the Italian death metal that in these last years gave us lots of nice surprises!I have one final question, for each of you to answer, or work together on; its up to you. What is the fundamental purpose of music with darker themes?
It’s surely a stylistical and harmonic research that at first is aimed to create confusion in the listener but then wants to give a sensation of rage, safety and personality to the songs, both lyrics-, musical- and vocal-wise. Nowadays being out of trends using darker themes isn’t easy but there are some unxplored points of view that grant a new personality to his kind of music. It’s impossible to say how through words, you have to communicate and feel it with music’s own language.Thanks to you, Lucy, and to everyone from Mechanical God Creation. I deeply appreciate everyone’s contribution.
Thanks to you for this chance and for the nice and challenging questions! Hope to hear you again soon!
Label : Dreamcell11/Aural Music
Review by Andrea Disgraced
Theatres des Vampires are back and this time with full force! Ok, let’s start from the beginning: being an old, huge fan of the band and having followed them since the beginning, loving almost every change in directions they had made, since most times they did it with both “brain & heart”, maintaining a very high profile, musically speaking. Until that infamous “Anima Noir”, which dates back to 2008 and that brought a lot of doubts to my mind. Don’t get me wrong, I own it and enjoyed A LOT one gig of the promo tour here in Italy but after that period I didn’t listen to it anymore; when I decided to have another go at it some months ago I suddenly realized all the flaws that back in 2008 the excitement of a die-hard fan didn’t allow me to see. But this isn’t a review of “Anima Noir” so I’ll be brief, although it’s a necessary prologue to understand my following statements. In few words, that was a bad album, with half of the songs that really didn’t do any justice to such a band. There was a wonderful song, the ballad “From The Deep” and generally talking the first half of the album was more than decent, with some shivers then and there (no, that wasn’t meant in a positive way! ;)). second half of the album was shamefully bad, bad songwriting, ridiculous keyboards-laden songs with that electro flavour that can appeal only to German goth dance clubs (no offense of any kind to anyone attached, be it clear). Only other wonderful song, the magnificent closing title-track couldn’t save the album from drowning, in my personal and most humble opinion. So I admit I feared not that TdV took a direction I wouldn’t like or became even less metal or bullshit like that, but simply that they would’ve come back with a – in my personal and most humble opinion – bad written album. God! Satan! Whoever you want! I was So wrong! I’m consuming this promo, I think. The band decided somehow to dare, without losing its trademarks since countess Sonya Scarlet is the singer, and wrote a bunch of kickass songs that I refuse to call vampiric as if this review or the album where aimed at a teenie goth who thinks Stephenie Meyer invented gothic/vampiric literature. The album starts with “Keeper of Secrets”, a good, heavy gothic metal song that perfectly opens to you the doors to what Theatres are today (and, I hope for several years to come). Aggressive guitars but never wannabe-aggressive, if you get my point: they don’t try to be harder than they actually are and it’s perfect this way. A catchy opener that will bring massacres during gigs! Last but not least, it introduces the first guest of the album, Mr. Snowy Shaw of Merciful Fate and Therion fame (let’s not chat about the latest happenings around him I’m sure you all know of and that don’t get him in the light so much hehe ;)). Let me tell you something that I’m sure you all crave to know about. Sonya‘s performance is here probably her best EVER. It must be said that that is also due to a finally perfect production, able to give Sonya’s different vocal nuances the right tone to be well expressed and recorded. Actually I think that her rockish vocals are quite interesting in the scene: unusual, sensual, with a lot of “recitato” (I take this word from the opera terminology to say that she really means what she sings, so to say). Not to mention that her opera-like singing, being it in the background or the leading vocal line, has improved so much and sounds now so incredibly good! Ok, not as powerful as the queens of “opera metal”, but at least so clear, pure, crystalline you can’t but love it. I dare to say even better than in those days in which she was merely a back-up singer and all (or nearly all) she had to do was to sing that way. Of course, throughout the whole opus we meet the usual male vocals – same speech here, sometimes they’re just in the background, sometimes they duet with Sonya and sometimes they sing alone. Shame on me because I can’t tell you who and when is doing them, since Fabian, Zimon and Gabriel, respectively keys, bass and drums are used to do those deep, male vocals, live too, so I guess you’ll all have to attend a show! “Fly Away” and title-track “Moonlight Waltz” will make you feel like you wanna throw away half of your (modern at least) gothic metal collection, since these two passionate songs are surely above an average rating and mark other two songs I’m craving to hear live as soon as possible! Let’s arrive to the cover song of this album: beloved Hijo de la Luna by Mecano, here in an Italian version called “Figlio Della Luna”. Now, I usually hate covers identical or almost identical to the original, I wonder what’s the point in doing that… This is NOT identical to the original, but not even totally different, that must be said. You’d recognize it very easily. Nonetheless, it’s a fucking masterpiece! Perhaps because Italian is after all my mother tongue and so it has a particular taste – the exotic one for non-italian speakers. Perhaps because the orchestration and the band’s skills turned it into a perfect symphonic cover – lately the only similar example I’ve heard, of something not having anything to do with symphonic metal that became an awesome pièce of it is “Still of the Night” by the goddess Tarja. Anyway this cover has it all: a heartfelt interpretation by Sonya, soaring orchestra and choirs and the right, fitting hitting of the band on the respective instruments. And if I can add, Sonya‘s performance has a nice feeling reminiscent of some classic (not classical) italian singers like Patty Pravo which is simply a point more in the whole thing. Ninth track “Le Grand Guignol” displays the talent of one of the first and best extreme metal women of all times: Cadaveria. The production gives a good hint, when she growls, of how she sounded back in the past with her previous bands, always on the edge of symphonic black metal and thrash; besides, we can hear also how perfect and angelic her clean vocals can be. “Obsession” is a good example of how you can make a song with electronic elements with an orchestra and choirs (thanks to the Classical Music Academy of Rome directed by Luca Bellanova) that would make many symphonic metal bands quite envious. Of course that isn’t something related to just this track, as beautiful violins act as a perfect side part in “Carmilla”, chosen as first single and which you can see the video to here. When I first listened to “Medousa” and “Carmilla”, the songs made available on myspace, I admit I prefrred the former, though now also the latter, after nine or ten listenings before writing this review, has started to grow on me. “Medousa” is the closing track of this album, which features the classy participation of Eva Breznicar from neofolk-industrial band Laibach. Unfortunately although I like the song in itself, I don’t find it a good ending, too anonymous perhaps. And I expected something more in the veins of Laibach, with their singer collaborating but maybe it was just me thinking wrong, maybe she was just invited to sing and stop. I still think it would’ve been an interesting experiment. On a negative note I can’t help but pointing out that once again the English pronunciation isn’t at its top at all; partly I think that’s because of Sonya‘s particulasr style of singing: I mean, also when she sings in Italian I have problems in understanding the lyrics! And if it can be of any consolation that’s a problem shared by 99,9% of Italian bands in any genre, apart from those so commercially big that I think are forced by their labels to sing as clear as possible. Pity, otherwise my final vote (even though it’s a number that doesn’t count anything without reading the whole review) would have been higher. So, welcome back, TdV! p.s.The limited edition includes a bonus DVD with the video to “Carmilla”, a “making of” of the album and other exclusive stuff.
Rating – 82/100
- Keeper of Secrets
- Moonlight Waltz
- Fly Away
- Figlio Della Luna (Mecano cover)
- An Illusion
- Black Madonna
- Le Grand Guignol
- The Secret Gates of Hades
- Sonya Scarlet – Vocals
- Stephan Benfante – Guitars
- Fabian Varesi – Keyboards & Backing Vocals
- Zimon Lijoi – Bass & Backing Vocals
- Gabriel Valerio – Drums & Backing Vocals
Label : Bakerteam Records
Review by Luisa Mercier
After five years of silence, the Italian extreme metal band Cadaveria is back. They are quite an institution of the Italian scene with their trademark sound. The title of this record says it all: the atmosphere of ”Horror Metal” are very dark, aggressive, straightforward and sometimes splatter. Cadaveria mixes clean, creepy vocals, growl and screams while the gloomy intro of “Flowers in Fire” kicks in. The track is quite slow paced, desperate and never boring. The album mingles death, black, doom, trash and some hint of gothic metal. So, you understand that being boring is difficult. Tracks like “Death Vision” and “The Days of After and Behind” are some of the highlights of the album. They linger on a thin line between doom and black metal, the guitarwork is really remarkable, courtesy of Frank Booth and Dick Laurent who create a dramatic and horrific mood. The album is very varied therefore you may find a song like “Whispers of Sin” which is really trashy and “in your face” (even though the guitars are melodic here and there) and another like “Assassin” with a symphonic intro, immediately smashed by violent guitars. “Apocalypse” recalls their old works with its death metal edge followed by “The Oracle (of The Fog)”, which is played between death metal and more melodic moments. The album is closed by the short “Hypnotic Psychosis”, another simple extreme metal song. I have to say that probably it was worth the wait, the record is good and rich in influences, so none of you will never get bored.
Rating – 70/100
- Flowers in Fire
- The Night’s Theatre
- Death Vision
- Whispers of Sin
- The Days of the After and Behind
- The Oracle (of the Fog)
- This Is Not the Silence
- Hypnotic Psychosis
- Cadaveria – Vocals
- Frank Booth – Guitar
- Dick Laurent – Guitar
- Killer Bob – Bass
- Marçelo Santos – Drums
Style switcher only on this demo version. Theme styles can be changed from Options page.
- exist†trace – “Diamond” MAXI SINGLE (2013)
- Noora Louhimo – Battle Beast
- Kari Rueslåtten – “Time to Tell” (2014)
- Nervosa – “Victim of Yourself” (2014)
- Noora Federley – Seremonia
- Delain – “The Human Contradiction” (2014)
- Anette Olzon – “Shine” (2014)
- Destrose – “Destrose” (2013)
- Destrose – “Destrose” (2013) JAP version
- Rainover – “Transcending the Blue and Drifting Into Rebirth” (2014)
- Leaves – “This is the Time” EP (2013)
- Tuomas Holopainen
- Jody Quine
- Grace Solero – “Hundred Years Apart” (2013)
- Agharti – “Change” (2013)
- Mental Defect – “Longplayer” (2011)
- MandragorA Scream – “Luciferland” (2012)
- La Strange – “Queen of Disguise” (2012)
- La Luz – “It’s Alive” (2013)
- Meg Myers – “Make a Shadow” EP (2014)
- Madness of the Night – “The Asgarda” (2013)
- Morena Rozzi – Macbeth (ITA)
- Morena Rozzi – Macbeth (ENG)
- Macbeth – “Neo Gothic Propaganda” (2014)
- Mariangela Demurtas – Tristania
- Anna Beliva – “Fire” (2013)
- Valkyre – “Our Glorious Demise” (2014)
- Inga Scharf – Van Canto
- Van Canto – “Dawn of the Brave” (2014)