Memoriam Announce New Record Out Early 2017 on Nuclear Blast

Memoriam nuclear blast

Memoriam, the new project of Karl Willets and Andy Whale from Bolt Thrower with former Benediction members Frank Healy and Scott Fairfax, have signed to Nuclear Blast Records and announced an upcoming album for early next year. Since they’re on Nuclear Blast, fans should expect a sterile production even though Andy Whale doesn’t use triggers. From Nuclear Blast’s press release:

Nuclear Blast proudly announces the signing of MEMORIAM, the death metal band founded by Karl Willetts (BOLT THROWER) and Frank Healy (BENEDICTION)!

MEMORIAM was primarily developed to fill the void that was left following the tragic death of Martin ‘Kiddie’ Kearns, the drummer from BOLT THROWER, back in September 2015. BOLT THROWER subsequently placed all activity on hold for the foreseeable future, which gave vocalist Karl Willetts an opportunity to develop a new project with friends, that had expressed interest in forming a band for some time.

Comments the band:
“The war rages on… It is with great pleasure that MEMORIAM announces that we have signed a recording contract with Nuclear Blast Records.

“Throughout our long careers, 30 years to be precise, within the music industry and specifically within the death metal scene we have witnessed the growth of Nuclear Blast Records to become the number one record company within our genre.

“When we started MEMORIAM back in January 2016 we intended just to form a band to go into the rehearsal rooms to jam out some cover versions of old classic songs that had influenced us in the past along with some cover versions from the bands we had played with over the years, and maybe eventually do a few low key gigs.

“With the introduction of Scott Fairfax into the line up all this changed, Scott has brought with him a wealth of killer riffs and new ideas which has totally changed things around from our original intentions. Very soon we decided to scrap the idea of being a covers band and to formulate our own songs using these riffs and ideas that Scott introduced to us, and from this we developed a whole load of new crushing brutal old school death metal songs which we are very proud of and can’t wait to unleash upon the world!

“When we started developing the songs we talked about the possibility of signing to a label and releasing an album, at that point we all decided that if Nuclear Blast approached us we would sign to them. This is because amongst all the labels out there none have a better relationship with the bands on their roster, none communicate better with both the bands and the fans of the music. None care as much about the music and the scene as Nuclear Blast Records.

“Nuclear Blast currently boasts the best artist roster of all the labels within the death metal genre, we are proud and honored amongst this list! 2016 is the year of MEMORIAM. Let the resistance begin…”

Markus Staiger, CEO of Nuclear Blast, adds:
“Being a lifetime fan of both BENEDICTION and BOLT THROWER, it is with great pride that I announce that the new band of Frank Healy and Karl Willets has now joined the Nuclear Blast family! Following the first news regarding the band, I have been keeping a close eye on them and was very curious to hear their material.

“Besides me, a lot of metal magazines have been in touch with the band even before they had heard a single note of music, while the band has also received many invitations to play several summer festivals. After hearing their first demo songs I was completely sold and knew that I had to get in contact with Frank and Karl to seal the deal. MEMORIAM will please all the fans of old school death metal and especially the worldwide fan base of BOLT THROWER and BENEDICTION! With bands like MEMORIAM, Nuclear Blast remains the no # 1 in extreme metal!!”

MEMORIAM maintains the standards set by their previous bands, focusing on the themes of death, loss and war. Initially, the band members got together to play covers of songs that had influenced them throughout their careers within the death metal scene. However, it soon became apparent that the new songs they had created were of a superior quality and that they needed to be heard. Currently the band is tentatively scheduled to release their debut album in early 2017 via Nuclear Blast Records.

MEMORIAM is:
Karl Willetts (BOLT THROWER) – vocals
Frank Healy (BENEDICTION, SACRILEGE) – bass
Andy Whale (ex-BOLT THROWER) – drums
Scott Fairfax (ex-LIFE DENIED, BENEDICTION) – guitars

The upcoming record probably won’t be as good as the prime period of Bolt Thrower’s career so enjoy For Victory!

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Discharge Forced to Reschedule US Tour and Cancel Appearance at Maryland Deathfest

discharge band 2016

Maryland Deathfest once again has visa troubles forcing the cancellation of a headliner. Sodom‘s visa troubles last year led to the cancellation of their headlining appearance on the main stage of the parking lot festival. Now, British hardcore legends Discharge (the originators of d-beat hardcore) get the short end of the stick from the Baltimore festival’s disorganization.

(more…)

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Dismember – Indecent and Obscene (1993)

Dismember Indecent And Obscene

Almost all metal bands eventually run out of ideas and revert to imitating their influences or repeating themselves. The former usually results in songs that are Frankenstein’s monster mashups of old ideas hoping to hop across the finish line without their sutures bursting leading to loss of limbs. The latter have no raison d’être beyond releasing the expected new record every eighteen months or so to put a product on the shelves that the label can push and the band can tour to support on a James Bond series type release schedule. Even a teenager saying “I want to kill everyone, drink beer, masturbate, and be as fucking metal as possible” shows more purpose than such aimlessness.

Indecent and Obscene was Dismember proving that in 1993 they had became at least as proficient musicians as their seventies and eighties idols. Dave Blomqvist took over the leader guitar duties from Nicke Andersson and added Mercyful Fate-like sweep-picked leads to the bluesy, Ritchie Blackmore-influenced solos. The songs continued in the vein of filthy Pieces EP with verse chorus verse bashers. The problem was they were slowed down, less distorted, and more lazily constructed: Beneath the Remains Sepultura minus a standard deviation or two in IQ. Every time Dismember play an interesting riff on this album, they allow it to wear out its welcome through repetition in brain-dead pop song structures. That is only when they have a good, counterpointed Carnage/Dismember riff. Most of the rhythm riffs are generic Autopsy riffs; riffs Autopsy stole from Celtic Frost, who stole it from Metallica, who stole it from some NWOBHM band who took it from AC/DC or The Stooges. These riffs were used just so Dismember could construct a basic d-beat song and sweep pick Guitar World readers’ faces off.

Matti Karki sounded just as rabid as ever but in every song sprouted off the title of the song in the chorus of the song as a vocal hook. This is the same as an awful Hollywood action film script containing dialogue saying the name of the movie in the movie, eg: “This is Con Air!” or “You Only Live Twice Mr. Bond!” Idiotic bridges kill off any tension too. “Why don’t you just kill yourself?” followed by breakdown of the main rhythm riff so all the hardcore kids for whom Suffocation was too heavy could slamdance before the air guitarable solo.

Dismember on Indecent and Obscene was Nuclear-Blasted into Cannibal Corpse before Nuclear Blast mandated all their bands sellout into death/black ‘n’ roll for the Bic-flicking festival crowd. While superior to most of the later work out of Sweden, Indecent and Obscene never approaches the transcendent Dark Recollections and Like an Ever Flowing Stream. The only praiseworthy aspects beyond the superficial icing are Fred Estby’s creative tom fills on songs such as “Sorrowfilled”. His underrated percussion is the only part building and resolving tension in these mediocre songs. That’s simply not enough to hold hessian attention. Decent material must still be composed and Dismember didn’t bother writing any worthy of repeated listening here.

 

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Carcass Announce 2016 North American Tour

Carcass doctors

Carcass have been touring almost-nonstop since reuniting and releasing their phoned-into-ProTools excuse to tour, Surgical SteelRight after supporting Slayer, they have announced yet another set of dates. Despite the mainstream metal openers, this “One Foot in the Grave 2016” might be worth worth checking for grindcore and death metal die hards as Carcass play material from all periods of their career when headlining.

Following a successful assault on our shores alongside label mates SLAYER and TESTAMENT, disinterred British metal icons CARCASS, will return to North America for a headlining tour this summer.! Joining them are southern metal heavy weights CROWBAR, horror thrashers GHOUL, and Los Angeles based metal act NIGHT DEMON.

“One Foot In The Grave 2016”
CARCASS, CROWBAR, GHOUL, NIGHT DEMON

07/16/16 Chicago, IL – Chicago Open Air Festival
07/17/16 Lawrence, KS – Granada Theater
07/19/16 Denver, CO – Bluebird Theatre
07/20/16 Salt Lake City, UT – The Complex
07/22/16 Sacramento, CA – Ace Of Spades
07/23/16 Santa Ana, CA – The Observatory
07/24/16 Los Angeles, CA – The Roxy Theater
07/25/16 Phoenix, AZ – Club Red
07/26/16 El Paso, TX – Tricky Falls
07/27/16 Albuquerque, NM – Sunshine Theater
07/29/16 Memphis, TN – New Daisy Theatre
07/30/16 Louisville, KY – Mercury Ballroom
07/31/16 Columbus, OH – Park Street Saloon
08/01/16 Baltimore, MD – Baltimore Sound Stage
08/02/16 Richmond, VA – Broadberry
08/03/16 Philadelphia, PA – Underground Arts
08/04/16 New York, NY – Gramercy Theatre
08/05/16 New Haven, CT – Toad’s Place
08/06/16 Montreal, QC – Heavy MTL Festival (Carcass only)

Keep in mind that Carcass are still entertaining when shitfaced:

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Reissue Radar: Immortal albums

immortal-pure_holocaust

While the sundered remnants of Immortal are trying to go their own ways (Abbath released a solo album, the rest of Immortal promises one later in 2016), Nuclear Blast Records is taking advantage of their rights to the Immortal back catalog by reissuing Pure Holocaust and At The Heart of Winter on vinyl. We’ve written about the strengths of Immortal’s early work in the past, and even the more streamlined and accessible At the Heart of Winter has its charms, so it should go without saying that the content of these reissues is valuable. Currently, the vinyl records are only available through Nuclear Blast’s German-language storefront, and not officially available until March 18th. German speakers might want to get in on this opportunity early.

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Immolation – Majesty and Decay

The mind can’t erase what the soul can’t embrace

The most anticipated death metal release of 2010 (along with the upcoming Morbid Angel, of course) Majesty and Decay has everything to please any sophisticated fan of the genre, yet still doesn’t quite meet the impossibly high standards of the group’s past. The 2007’s Shadows in the Light while it seemed to have retained all the ingredients of the New York masters’ brew somehow failed to live up to spoiled listeners’ expectations. The unfortunate flirting with “nu metal” elements as well as almost complete discarding of drumming-based structure poisoned the arrangements and conveyed a bad aftertaste to the whole record. Still head and shoulders above any fellow North American squad Immolation has taken the prolonged break in order to revise their direction and yet again prove themselves the ruling kings of the genre.

The best news Majesty and Decay has to offer is Steve Shalaty’s drumming. The man has been replacing Immolation’s godly Alex Hernandez ever since 2005’s Harnessing Ruin but it is only here that he unlocks his true talent. Steve has surely developed his own musical language since 2007 and the band has finally regained its rhythmic “pillars”. Everything has fallen into place at last: blasting endurance, inventive drum breaks and mid-paced punishment. The “inverted” riffing – although not as all-pervasive as on, say, Close to a World Below, – stresses the drumming very nicely and allows for some smooth gliding down the interwoven landscape of melody. Indeed, what sets the album apart in the vast Immolation discography is the use of melody. While the band is still a riff-fed beast, the heavy metal melody injecting the solos and seeping through the riffs enriches the sound world of the group, introduces “humanity” to the demonic environment of their instrumentation. The songs are shorter compared to the classic 90s era material, more to-the-point composition-wise, and definitely more “human” than we have come to expect from these New Yorkers.

Vigna (wonderfully supported by Bill Taylor as usual) goes right after Shalaty in this album’s list of heroes. The tight, powerful riffing, the wild soloing echoing with sadness and despair – all of it enhanced by the tasteful and balanced production ensures a satisfying listen. Guitars are put to good use in both the “Intro” and the “Interlude”, which indeed set the atmosphere very well. Ross Dolan’s vocals have become completely decipherable on here without loosing the emotion and recklessness, while his bass is so elegantly put into the mix that it acquires percussive quality at times. All of the above perfectly reflects the lyrical themes of the album: the loneliness of modern man lost in the midst of colossal fight for world domination, the evaporation of values and purposes igniting intrinsic hells and leaving no hope for the spirit.

“Our threatened kingdoms The world is divided Trample ourselves While we claw for the prize”

Still, the album comes with its share of flaws too. The band implements the tension buildup/release approach in some of the songwriting here and not only fails to achieve the desired effect, but sometimes looses momentum completely (most notably “The Purge”, “Divine Code”, “Power and Shame” ). The distribution of Immolation’s volatile energy here often reduces the impact instead of boosting it. This new trick is still very raw/unrefined and cannot fully replace the mathematic complexity of their 90s output. The classic (and eagerly awaited) “last song devastation” is also pretty much wasted here: next to all the best, epic songs scattered across the album “The Comfort of Cowards” feels pretty weak (while certainly not entirely filler) for a killing blow. The cover art is a disgrace. This computer game-like visual representation does justice neither to music nor lyrics. Also, the band probably needs to consider revising their logo after all these years of using a stretched font as one.

All in all, this is a mandatory purchase for anyone with at least a slight interest in today’s metal. It is entirely possible that Immolation’s return will be the finest mainstream death metal album by the end of the year (even with all the mentioned flaws taken into account) as this reviewer doubts Morbid Angel or any other competitor for that matter has the guts to top this material.

-The Eye in the Smoke-

http://www.youtube.com/watch?v=8s-0LKFsFe0

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