Archive for June, 2012

Knock Out Kaine – House of Sins

Posted in CD, Rock with tags , , on 25th June 2012 by izaforestspirit

Knock Out Kaine
House of Sins
Released May 2012
Sleaze Rock / Classic Rock
Released via Dust on The Tracks Records

‘House of Sins’ is the debut album from the Midlands-based, British rock band Knock Out Kaine. The band first caught the attention of the crowds and record labels after winning Kerrang’s ‘Best Unsigned Live Act’ award back in 2008.

So after the circus-themed intro ‘The Welcome’, it’s straight into sleaze rock territory with the title track ‘House of Sins’ which sounds like a bastard child of Guns’N’Roses and Mötley Crüe. ‘Liquor Up’ has this catchy feel to it mostly due to the groovy guitars. Then there’s the Guns’N’Roses style ‘Set the Night on Fire’ where the guitar solos and the catchy chorus ensure that you won’t forget it.

‘Backstreet Romeo’ sounds like one of those songs which people like to practice when learning to play the guitar. It’s catchy enough to make it memorable and the lyrics are easy to follow so I’m guessing the difficulty lies in mastering the guitar riffs as well as these guys. Anyway, back to the music… ‘Coming Home’ is the main ballad on here complete with mix of electric and acoustic guitars along with melodic, classic rock style vocals. Then it’s back to the catchy sleaze rock with ‘Going Down (She Goes)’, ‘Somebody Save Me’ and the somewhat cheesy sounding ‘Time’.

4/5 – Sleaze rock at its finest!

Iza Raittila

SWR Porto Hard 2012 – 2nd day

Posted in Festival, Live on 25th June 2012 by Pieni

Bands: Exodus, Death Angel, Heathen, Suicidal Angels
Location: Hard Club, Porto (PT)
Date: 18th June 2012

The second night was 100% old school thrash metal, in another near-sold-out Hard Club.

Greek SUICIDAL ANGELS set the crowd on fire right away with the title-track of their fourth album “Bloodbath”.

It took the band 8 years (and several line-up changes) to achieve a certain status among the thrash community, with their second album “Sanctify The Darkness”. Yet, they seemed pretty unknown to the majority of the Portuguese audience – although some loud voices sang along Nick Melissourgos. But knowing or not, they all raised their fists in the air and screamed “hey!” when they had to, clearly enjoying the show.

“Bleeding Holocaust” and “Chaos (The Curse Is Burning Inside)” were some of the highest moments, but the peak was reached during the two final tracks – “Moshing Crew”, for which Nick asked for a mosh pit “to the end of the room”, and the “hit-single” “Apokathilosis”, where the same Nick conducted a wall of death.



HEATHEN’s name wasn’t on the posters or tickets, but almost everyone knew about them (let’s hear it for the Internet).

Born in the golden age of thrash and in its golden crib (The Bay Area), HEATHEN seemed even less known than SUICIDAL ANGELS – despite EXODUS-Lee Altus being their guitarist and founder member. I guess the 9-year hiatus they engaged between 1992 and 2001, and the other 9 years they took to release a new album (“The Evolution Of Chaos”, 2010) explains the general lack of knowledge of the crowd.

General, not absolute. There was still a few who knew the lyrics to songs like “Open The Grave”, “No Stone Unturned” or “Death By Hanging”. And like with SUICIDAL ANGELS, the audience also quickly surrendered to HEATHEN.



EXODUS were the headliners, but DEATH ANGEL could have been so as well. What a show! A lot of jumping and movement, with natural technicism – Rob Cavestany just wants to play good thrash metal, not prove he’s the best in the neighborhood.

Mark Osegueda went down memory lane, to the first time they’d played in Porto, 3 years before. They didn’t know what to expect, but barely a couple of songs afterwards, they knew they had to come back. With a closed fist over his heart, Mark said it felt good to finally make it.

This year sees the 25th anniversary of their famous debut album “The Ultra-Violence”, and in its celebration, as it’s now common to do, the band’s been playing it in full. Mark even said that this particular night was special, as it was the precise date of the release (although Wikipedia says it was in April…). Whatever the case, that show was special indeed.

Unlike the rest of the dates, they still had time for an encore, which consisted of “Truce” and “Thrown To The Wolves”. Brilliant!



This was my third EXODUS gig and definitely the one I enjoyed the most. Rob Dukes’ good mood certainly helped, as well as the awesome response of the crowd.

Seems like they drank A LOT on their way there, and that bass player Jack Gibson spent the day throwing up. But there he was (a bit pale, true), willing to play some thrash for us.

They also strolled a bit through the city and apparently Rob liked it very much. And apart from the city view itself, he appreciated the sight of the people, saying the men in this town had the opportunity to “fuck some of the most beautiful women”. Previously, he’d already said to a female fan in the front row that her tits were distracting him, and to the crowd in general, “tits and money, that’s all that matters”.

Jokes apart, we heard all the classics like “Piranha”, “Shroud Of Urine”, “Scar Spangled Banner”, “A Lesson In Violence”… And a surprising “Deranged”, with HEATHEN-Kragen Lum replacing Lee on the guitar.

I believe it was before “Blacklist” (my all-time favourite) that Rob started to tease us with comparisons to Madrid, Spain (if you don’t know it, there’s this old rivalry between the two countries for centuries). He said that at least in Madrid there was always a “motherfucker” who would climb on stage and dive. Well, since the beginning, while I was shooting inside the photopit during the allowed first three songs, several crowdsurfers landed beside me. So I think the only reason they didn’t reach for the stage was the security guy. But when the singer himself says such a thing, there’s not much the security can do anymore. And given Rob’s earlier speech, I think he was quite pleased to see that one of the first stagedivers was a girl.

The encore was ace – “Bonded By Blood”, “Toxic Waltz”, “War Is My Shepherd” and “Strike Of The Beast”. A hilarious moment in the middle of “War Is My Shepherd”, when Tom Hunting, “the best thrash drummer” (according to Rob),started to play SCORPIONS’ “Rock You Like A Hurricane”. The rest of the band tagged along, resuming “War Is…” one minute later or so.

And “Strike Of The Beast” provided the biggest wall of death Hard Club has ever witnessed.

As a fan of Gary Holt, I was saddened that he was still touring with SLAYER, replacing Jeff Hanneman, who hasn’t fully recovered yet from that spider bite last year. But I must admit that Rick Hunolt did a hell of a job with his guitar skills and lively presence.

Rob said we were definitely the best audience. I wouldn’t say THE best, but one of the best, oh yeah!



Renata “Pieni” Lino

The Ordeal – Descent From Hell

Posted in CD, Metal on 25th June 2012 by izaforestspirit

The Ordeal
Descent From Hell
Due for release/Released: June 2012
Power Metal / Heavy Metal
Released via Label: Dust on the Tracks Records

‘Descent from Hell’ is the second album from the German heavy metal band The Ordeal. According to a press release the band states 70s metal as a major influence their sound. This particular album features a cover of Peter Gabriel’s ‘Here Comes The Flood’.

As the deceptively slow, symphonic intro to the title track ‘Descent from Hell’ gives in to some squeaky vocals and Halloween/Hammerfall/Edguy (insert stereotypical, power metal band name here) style guitar riffage, you pretty much know what you’re in for. Album cover might be lacking in images of dragons and warriors but it has cheesy, fantasy themed power metal stamped all over it!

Then again that’s not necessarily a bad thing… If you can refrain yourself from laughing at the ridiculously cheesy lyrics, just try to picture yourself watching this live at a summer metal festival after the appropriate amount of beverages. Only then will you start head-banging to ‘Dance With The Devil’ and ‘Sinner’s Addiction’ or waving a lighter along to the ballad ‘Dragon Tears’. The cover of ‘Here Comes The Floor’ fits well with the other ballads on here thanks to the melodic guitars and the classic rock style vocals. The 70s metal influence can be heard in the progressive rock elements on tracks such as ‘Letter of Time’ and in the slower parts of ‘Hellsgate’.


Iza Raittila

Scarlet Anger – Dark Reign

Posted in CD, Metal on 25th June 2012 by izaforestspirit

Scarlet Anger
Dark Reign
Due for release/Released: May 2012
Thrash Metal
Released via Label: Dust on The Tracks Records

‘Dark Reign’ is the debut album from the Luxembourg-based thrash metal band Scarlet Anger. The album was mastered by Jeff Waters of Annihilator. The first part of the album named ‘Chapter II: Kill The King’ features tracks from last year’s self-released EP ‘Kill The King’.

The opening track ‘New God Rising’ has old school trash metal written all over it with powerful thrash metal guitar riffs and solos along with the standard thrash metal vocals. Comparisons to Kreator and Sodom spring to mind. ‘From Fool to King’ has a hint of old Slayer in it mostly due to the shouting style vocals. ‘Game Over’ may not have the most imaginative lyrics but the skillfully executed guitar riffs and drumming easily makes up for it. With ‘Face of Evil’ we get some guitar solos, and what’s possibly the catchiest chorus on the album.

And so we come to the second chapter aptly labeled ‘Chapter II…The King Is Dead, Long Live The King’; starting with the title track ‘Dark Reign’ which features more powerful riffs mixed in with some melodic parts and semi-growly vocals. Then it’s time to hit the mosh-pit with the guitar-centered, head-banger’s favorite ‘Follow The Order’. Other noteworthy parts include the guitar solo in ‘Tenfold’ which reminds me of Destruction and melodic ballad elements on ‘My Empire Coming Down’.


Iza Raittila

SWR Porto Hard 2012 – 1st day

Posted in Festival, Live on 24th June 2012 by Pieni

Bands: Hunted Scriptum, Cannibal Corpse, Grog
Location: Hard Club, Porto (PT)
Date: 17th June 2012

SWR Inc. is probably the most renowned underground promoter in Portugal. SWR stands for Steel Warriors Rebellion, which was the fest it all started with, 15 years ago.

Last year they began another kind of fest, indoors, held at Hard Club, in Porto – hence the name SWR Porto Hard. This report is about the second edition of that fest, which brought together some of the most classic names in the death and thrash metal scene.

The first of the two nights happened when Portugal was facing Holland on the soccer field, trying to get to the next stage of Euro 2012. In order to allow the metalheads to enjoy both events, Hard Club’s restaurant would play the football match on a big screen, and the concert would begin at the end of the game.

First band on the bill was GROG, a grindcore band from Oeiras (Lisbon) who’s been around for quite a while (21 years). Many people were still celebrating Portugal’s victory and the first couple of songs were performed to a somewhat weak-in-numbers crowd. But slowly those numbers grew, as well as the enthusiasm, putting the band at its usual ease. The performance itself was technically perfect from the beginning, don’t get me wrong. It was the speech of singer Pedro Pedra which became more informal and familiar as the audience got more receptive as well.

GROG’s debut album saw the light of day in 1996, entitled “Macabre Requiems”. So much has passed ever since, and they only had half an hour to play, that the best option was a medley. “Cult Of Blood” and “Raped By A Virgin” were some of the highest moments taken from the second album, “Odes To The Carnivorous”, while “Anal Core”, “Acephalus Meatgrind Orgy Hibernation” and “Hanged By The Cojones” represented the third and most recent work, “Scooping The Cranial Insides”.



In order to get the “prime-time”, CANNIBAL CORPSE switched places with HUNTED SCRIPTUM and climbed on stage next. Promoting “Torture”, they picked its first three tracks to start the concert with. Then, in a less death metal moment, George “Corpsegrinder” Fisher said “we love you guys” to an almost sold-out venue, resuming the brutality with “Disfigured”.

Rob Barrett and Patrick O’Brien apparently needed tuning their guitars constantly, resulting in long breaks between songs – which, in my personal opinion, killed the mood a bit. Corpsegrinder would then address the audience, but they wanted movement, not words. So as soon as the music restarted, the mosh pits and the headbanging would double in intensity, and everyone seemed to forget the waiting time.

For one hour and a half, the death metal masters went through their whole discography, playing all of them freely – it seems that in Australia and Germany, for instance, they’re forbidden to play songs like “I Cum Blood” and “Born In A Casket”, two oldies that we rejoiced that night.

Corpsegrinder asked for the biggest mosh pit on “Hammer Smashed Face”, some song that I couldn’t understand which was dedicated to the ladies, and “Stripped, Raped And Strangled” closed with a golden key.



It’s not easy for an underground death metal band to play after such a legend as CANNIBAL CORPSE, but HUNTED SCRIPTUM did very well. And even though many people left, there was still quite a number of endurers.

Drummer and guitarists (bass included) got on stage in surgery clothes (an IV bag hang from Sérgio’s mic stand), while singer José wore some kind of straightjacket – “some kind of” as he still was free enough to handle the mic.

I’m not sure about the songs they played, but whatever the titles, their performance was great, both on technical and visual levels. It was really a shame the timetable shift, not allowing them to take full advantage of sharing the stage with CANNIBAL CORPSE. But HUNTED SCRIPTUM have been growing a lot since the first time I’ve seen them, some five years ago, so I believe there will be plenty of opportunities more.



Renata “Pieni” Lino

Sarah Jezebel Deva–Malediction

Posted in CD, Metal with tags , , , , on 24th June 2012 by Nico Solheim-Davidson

Sarah Jezebel Deva
Released 28th May 2012
Symphonic Metal
Released via Listenable Records


Sarah Jezebel Deva is becoming somewhat of a household name in the darker netherworld of the symphonic metal scene and yet still somehow stays unknown at the same time, through no fault of her own. Malediction is the latest release in Sarah’s extensive discography and made its live debut during SJD’s UK tour back in May.

This Is My Curse is the starting point of the EP and what a way to start. The track unleashes some violent, extreme metal orientated riffs, along side some poetically performed symphonic sections. The drums adapt well to the ever changing sound of the song. The guest vocals, provided by Dani Filth, add a very grim and tragic sound to the track and it’s somewhat nostalgic to hear Sarah and Filth performing, vocally, together again – However, it’s Sarah’s vocals that really shine out the most.

The second track, Lies Define Us, which features Bjorn Strid (Soilwork) begins with a piano dominated section which works well with the guitars, before going into a vocal and piano section that really demonstrates the strength of Sarah’s vocals. Bjorn, surprisingly, works well, vocally, with Sarah. The guitars and drums feel more laid back throughout the song before still scream with some subtle extreme elements. The more obvious symphonic elements add a depth of character to the song, adding emphasis on both sets of vocals as well The final part of the EP, When ‘It’ Catches Up With You, seems to combine the best elements of the previous two tracks, excluding the guest vocalists. The symphonic references and extreme metal based riffs are ripe throughout the track, evolving the song into a masterpiece of powerful vocals and hypnotic music.

The sound that Sarah and her band create develops and evolves with each new release and Malediction is no different. I just wish it was a longer release, but nevertheless, Sarah Jezebel Deva has released yet another first class release.


Nico Davidson

Rob Zombie Favourites Remixed And Set For Release

Posted in News with tags , , , , on 22nd June 2012 by Nico Solheim-Davidson

On  August 6, 2012, Universal Music will release Rob Zombie’s Mondo Sex Head, featuring new and unique remixes of Rob Zombie classics by some of today’s top DJs, including KoRn’s Jonathan “JDevil” Davis, Photek, the Bloody Beetroots, Drumcorps and Ki:Theory.  Mondo Sex Head was curated and executive produced by Jason Bentley, Music Director at L.A.’s influential KCRW and Electronic Dance Music expert.

Richard Bishop, co-executive producer of RE:GENERATION music project and documentary film, supervised the project. Each track was hand selected by Rob Zombie who road-tested many of the songs in his car, driving the L.A. streets.

Throughout his career, iconic music artist and auteur filmmaker Rob Zombie has continuously challenged audiences as he stretches the boundaries of music, film and publishing. Zombie, who has sold over fifteen million albums worldwide and has earned seven Grammy® nominations, is no stranger to repurposing his work, cross-fertilizing his fan base and generally pushing the limits of modern-day art. Over the years he has worked with outside DJs, remixers and producers starting with the 1992 remix of White Zombie’s first-ever, MTV-fueled hit, “Thunder Kiss ’65.”

“I like the idea of taking songs and reconfiguring them,” says Zombie about the album, who is taking an alternative approach in the digital retail space.  The album will be preceded by two separate, digital-only EPs, with tracks taken from Mondo Sex Head and exclusive bonus tracks.

Rob Zombie’s sound and style have always lent themselves to the dance and DJ culture, and he has previously released two remix albums—including 1996’s Supersexy Swingin Sounds, which featured songs from White Zombie’s previous albums as re-envisioned by the Dust Brothers, John Fryer, P.M. Dawn, Mike “Hitman” Wilson and Praga Khan, and others. Another collaborator on that album, Charlie Clouser, evolved into the band’s producer.  American Made Music to Strip By came out in 1999, featuring remixes from Zombie’s ground-breaking Hellbilly Deluxe by Rammstein, Oliver Adams, DJ Lethal, Nine Inch Nails’ Chris Vrenna and Clouser.

With dubstep and rock rapidly banging heads together, Universal Music’s Mondo Sex Head couldn’t arrive at a better time, featuring remixes from all corners of dance music by the likes of KoRn’s Jonathan “JDevil” Davis (“Thunder Kiss ‘65”), Photek (“Living Dead Girl”), Document One (“Let It All Bleed Out”), Ki:Theory (“Foxy Foxy” & “Pussy Liquor”), Big Black Delta (“More Human Than Human”),  ††† aka Chino of Deftones (“Dragula”), Das Kapital (“Lords of Salem”), Drumcorps (“Never Gonna Stop”), former Glitch Mob member Kraddy (“Superbeast”) and the Bloody Beetroots (“Burn”), among others.

Zombie credits the idea for the album to a conversation with his manager, Andy Gould, who told him he was constantly hearing DJs incorporate samples of Zombie’s music into their performance sets.
Rob Zombie’s Mondo Sex Head finds its creator returning to claim his legacy in the burgeoning world of electronic dance music. By bringing together music and film, rock and dance, arena mosh pits and club dance floors, Rob Zombie is proving a cultural phenomenon, with a fan base that is constantly growing.

1. White Zombie – Thunder Kiss ‘65 (JDevil Number Of The Beast Remix)
2. Living Dead Girl (Photek Remix)
3. Let It All Bleed Out (Document One Remix)
4. Foxy Foxy  – (Ki:Theory Remix)
5. White Zombie – More Human Than Human (Big Black Delta Remix)
6. Dragula (††† Remix)
7. Pussy Liquor  (Ki:Theory Remix)
8. Lords of Salem (Das Kaptial)
9. Never Gonna Stop (Drumcorps Acid Remix)
10. Superbeast (Kraddy Remix)
11. Devil’s Hole Girls (Tobias Enhus Remix ft The Jane Cornish String Quartet)
12. Burn (The Bloody Beetroots Motherfucker Remix)
13. Mars Needs Women (Griffin Boice Remix)