With a title like Revenge At All Cost (Rexius Records) I suspected Confess’ latest to sound angry. You’re probably saying, “this is heavy metal, anger is sort of the modus operandi.” And I totally get that. We likely wouldn’t have metal or punk today if it wasn’t for a few young people coming together with some anger or resentment in their hearts and a willingness to do something about it.
According to a new report from Loudwire, Behemoth frontman Adam “Nergal” Darski is facing charges of blasphemy yet again in his home country of Poland. The charge stems from a 2019 image Nergal posted to Facebook, where he’s stepping on artwork of the Virgin Mary on the set of a Me and That Man video shoot. In 2010, Nergal was made to stand trial on blasphemy charges for tearing up a Bible onstage. Nergal won the case, but he also was targeted by the Polish government for a controversial T-shirt design, which resembled the Polish national emblem.
On day two of Eindhoven Metal Meeting, a surprising amount of energy has been drained by the inevitable afterparties that spread through Eindhoven, but also to the neighbouring town of Tilburg. Metalheads simply cannot stop a party once they get going, and so the next day starts up a little slower. Thinking I may be able to skip the long line for the pat downs if I arrive a bit later, I’ve decided to arrive between the first and second band. Nope. There is still a line as many more of the partying metalheads had a similar idea, as did many of the day ticket holders. Thankfully the line is a fair bit quicker today though than it was yesterday, and I manage to get the first band of the day.
Every year as people around the world gather to celebrate their own midwinter celebrations, usually focussing around light and warmth, the Effenaar venue in Eindhoven instead celebrates the dark and heavy. Eindhoven Metal Meeting is seen by many as the Christmas party of the Benelux metal family. As in previous years, Ghost Cult Magazine sent me to report, and take some snaps.Continue reading →
With just over a month to go, the 2017 Eindhoven Metal Meeting approaches The lined up boasts the likes of Venom, Dark Tranquility, Coroner, Carpathian Forest, Master’s Hammer, Destroyer 666 and many more. The full lineup is listed below and tickets are still available but expected to sell out. As always, the “longest-running indoor extreme metal festival” in the Netherlands will take place Friday 15 & Saturday 16th of December 2017 at the Effenaar venue in Eindhoven. Continue reading →
Due to unforeseen personal circumstances, My Dying Bride has dropped out of this December’s Eindhoven Metal Meeting. Apparently, the cancellation was beyond the control of both the band and the festival. The good news is, Dark Tranquility has been added as an exclusive headliner on December 15th, the first night of the fest. More details, ticket links, and the full lineup so far are listed belowContinue reading →
Netherlands Deathfest, a new indoor metal festival set to debut next February has added 12 more bands to its already impressive bill. In a post to Facebook, the fest announced that Asphyx, Blasphemy (in an exclusive appearance for Europe), Darkened Nocturn Slaughtercult, Lord Belial, Thanatos, and Wolfbrigade are amongst the newly added bands to a bill that already includes Autopsy (exclusive), Pig Destroyer and Agoraphobic Nosebleed, Cripple Bastards, Doom, Dropdead, Gruesome, Razor, Wormed and more. Formed to replace the Neurotic Deathfest, which ceased existence early this year after 12 years, the show is being booked by the brains behind Maryland Deathfest, who are branching out and also booking events such as Phil Anselmo’s Housecore Horror Festival later this year. 3 Day passes go on sale on August 15th at 10 AM CET here.
12 more bands confirmed for Netherlands Deathfest 2016!
Asphyx Blasphemy – Exclusive European appearance! Cyness Darkened Nocturn Slaughtercult Haemorrhage Interment Lord Belial Ofermod Thanatos Visceral Disgorge Wolfbrigade Wormed
In a post to Facebook tonight, popular American black metal flag bearers, Kvlt ov Azaelhave announced their break up as a band, and the immediate cancellation of upcoming tour dates. The band was believed to be working on new material that was a follow-up to the bands last full length of original music, 2009’s Destroying the Sacred (Arctic Music Group). In their message to fans, the band cites a lack of passion and drive of some of the members as the cause.
On June 10th a decision was made to disband Kult ov Azazel. This was a hard decision to make and still is bitter pill to…
It may not always seem the most sophisticated or progressive of genres, but horrible old Death Metal has been undergoing something of a late renaissance of late. With bands like Portal, Ulcerate and Gorguts (finally no longer alone in a field they’ve ploughed since the mid 90’s) bending the genre into new shapes while old heroes like Autopsy remind us of the strengths of playing it straight. Growling over a blast-beat hasn’t been this exciting in years.
Teitanblood’s latest contribution to this is more subtle and developed than it may initially seem, and opens up over the course of several listens into an album of surprising depth. Mashing old-school Death Metal with touches of Crust, Grind and Black Metal they create a noxious mess that lurches from Blasphemy-style chaos to blackened sludge, referencing classic Carcass and the occasional d-beat on the way.
The most glaring issue with Death (Norma Evangelium Diaboli) – initially a big one – is the sheer length. Weighing in at over 60 minutes, with songs averaging around 10minutes, this seems far too overblown for such an unambitious, chaotic sound. Persevere, though, and it starts to become clear that Teitanblood have got more going on than they initially seem to. Firstly, their sense of dynamics; songs catapult explosively through genuinely well-crafted structures, riffs and beats shifting effortlessly into shapes that prevent them from getting mired in the repetition that one might expect. Secondly, there is their use of ambient noises and samples in the background of many songs, comparable to that of AEvangelist, but deployed with a much lighter hand. Many listeners may not even hear them at first, but they add a depth and atmosphere to Teitanblood’s dense, organic music that genuinely helps the album justify its running time.
Not instantly the easiest of listens, then, and will likely be dismissed by many as too long or too chaotic, but an album of surprising depth which fans of the noisier end of Death Metal should find rewards repeated listens.